Open Literature all’8° congresso internazionale di letteratura comparata – Université de lille

 The 8th Congress of the European Society of Comparative Literature, Lille 26-30 August 2019.   //  8e Congrès de l’European Society of Comparative Literature (ESCL) / Société Européenne de Littérature comparée (SELC), Lille, 26 au 30 août 2019

Organizers/Responsables: Fiona McIntosh-Varjabédian et Karl Zieger et

“Literature, cultural exchanges and transmission: knowledge and creation between past and future”

Université de Lille – MARDI, 27 août/ Tuesday 27th August : Maison européenne des Sciences de l’homme et de la société (MESHS), 2 rue des Canonniers, Lille.

Postdigital Comparatism: New methods, new frameworks, new questions?

Panel proposed by Amelia Sanz (Madrid), Silvia Ulrich (Turin) and Aleš Vaupotič (Nova Gorica)

In this panel, we will try to describe and to evaluate the headway the Comparatism made at a time when cultures, literatures and criticism can be considered inevitably post-digital: after the digital revolution dealing with cultural habitus in the 21st century. Looking forward, what difference does it make? The point is the following: are digital archives, electronic devices, and tools modifying our disciplinary field just with regard to new available sources and dissemination strategies? Or are they creating any specific epistemological modeling? Is there any comparatist condition to be satisfied by digital methodologies? Are the digital humanities and the digital literary studies (still) distinguishable from general literary studies? Can electronic technologies and digital methodologies become hegemonic, even hypercolonial, over any epistemological sovereignty? How are the comparatists coping with the interdisciplinary constellations involved in using computer technologies in research? What is the difference between digitized literatures, and digital arts and literatures from a comparatist point of view? We should reflect on the use of the communication models from new-media art as a source for the emerging digital humanities genres. Why do comparatists seem so suspicious and skeptical towards digitization process and digital arts, whereas they are used to cross over cultures, oceans and media? Aleš Vaupotič (University of Nova Gorica) Comparative literature and digital humanities The paper scrutinizes four approaches that can facilitate a mapping of the changes and provide guidelines for a digital comparative literature, i.e. a revised comparatistics for the 21st century. The first focus is theories of new media, the studies of creativity in new communication media, such as digital poetry or electronic literature etc. Next, the automation of algorithms from the technical point of view and the critical reflection of data processing enters the domain of humanities. Comparatists will have to master both data management and manipulation, as well as be able to critically reflect on the interpretative value of e.g. data mining. The third aspect is the non-verbal modes of argumentation, which come along with information visualization and interface design entering the field, such as presentation of historical data from databases. The rhetoric of the human-computer interface is challenging – but not replacing – the dominance of the textual expression. Finally, the new comparative literature will have to be interdisciplinary, the task at hand is to outline the interdisciplinary constellation, collaboration models that can preserve the insights of the comparatist tradition while at the same time be able to address the new digitized/born-digital cultural record. Øyvind Eide (University of Cologne) Modelling as translation: the epistemological value of toolmaking in digital humanities The practice of cultural and literary studies as it is applied at the Department for Digital Humanities at the University of Cologne is based on active development and use of digital tools. To some extent this is based on statistical methods, as we know it from Macroanalysis/Distant reading. The focus on this paper, however, will be on the practice of deformative modelling, where digital versions of non-digital media products are created with the double aim of gaining a deeper understanding of both the source media expression and the target medium. Source expressions represent a number of different media including verbal text, performative arts, and physical models as they are used, for instance, in theatre productions. Target media include digital maps, 3D models, and virtual reality systems. Based on examples taken from research and teaching, digital literary studies will be discussed as a phenomenon existing in the span between scholarly discipline, auxiliary discipline, and methodology. Marin Laak (Estonian Literary Museum) Piret Viires (Tallinn University, Estonia) Digital Humanities – a New Tool for Literary Research or a New Discipline? The aim of our presentation is to check out the limits and possibilities of Digital Humanities as a concept and to determine its challenges for contemporary literary studies. Also the aim is to discuss some examples of research results and projects in literary studies done in Estonia using computing technology. The central question we want to address is the following. Can Digital Humanities essentially be considered as a tool or method for traditional literary research or is it an entirely new approach in literary studies, which has a potential to change literary theory significantly? Can we say that we are facing the emergence of digital literary studies or not? We would like to map some potential answers to these questions and also provoke a discussion on this subject. Carmen Concilio (University of Torino, I) Digital “Epitexts” and Literary masterpieces in the Digital Humanities In the present paper I would like to examine the role of distinguished writer’s official websites (Amitav Ghosh, Madeleine Thien, Chimamanda Ngozi Adichie, Teju Cole), as a source of augmented hypertext, providing an interpretative key to the author’s own creative works of fiction as well as to their role of intellectuals as highlighted by their essay-production. Websites, as parallel “epitexts” (Genette 1989) to the published works, together with public interventions on the web, for instance in the form of the so-called TED-talks, the production of video-essays or photo-essays, blogs, and flash fictions and a whole series of new digital genres, allows for a reflection and an assessment of new ways to produce, promote, publish and publicize literature. In the meanwhile, all this produces changes in the perception of celebrities, creating new visibility/credibility to authors – once believed to be unreachable, distant, inaccessible people. My aim is therefore to produce a critical evaluation of the new digital contents, within the framework of Digital Humanities Studies that surround successful literary works and their authors in the Anglophone world. Inés Pérez (Complutense University of Madrid, Spain) Amelia Sanz (Complutense University of Madrid, Spain) Pre and Post-global Children’s Literature: Conditions to cross over Departing from a hypothesis (that post-global means post-digital), we intend to corroborate it in a very specific field (children’s literature), as it is (1) an already constituted field, (2) where the transition to the digital can be observed, and (3) whereupon the communities of followers let us follow a particular type of traceability; which in itself constitutes a privileged field to be observed and for generalising approaches. We shall study and compare some of the strategies and mechanisms of globalization in the digital media in the journey of Quebec’s Caillou, Spain’s Manolito Gafotas, and the British My Little Poney, making punctual references to Asterix’ and The Simpsons’ trajectories as a frame for a global phenomenon. We intend, therefore, to obtain some conditions for the journey from pre-digital products to the post-digital/post-global era. Are these conditions hegemonic, even global? Are communication models from new media determinant? Are these post-digital conditions clearly distinguishable from those in the “old” Republic of Letters? Are they creating any specific epistemological modelling? We shall try to come close to some answers. Philippe Bootz (Université de Paris-8) Do we have to (really) change our mind? We generally consider that obsolescence and software opacity are digital problems we have to fix. But from the angle that the digital is a new societal and cultural ecosystem that also acts on creation, as was the electricity, we have to reconsider these features in another point of view: not as problems to fix but as constrains inherent to the productions themselves. It encourages us to explore and investigate these constrains in a creative way, what poets did and do. It fundamentally changes the conceptions we can have of “what can be literature”, and, in a comparative viewpoint, can we compare all these new features with other kind of productions, including printed texts? I will use some aesthetic features of works, some results of experiments on works programs, and some common theoretical concepts, many coming from digital literature theory, to claim that we have to reconsider the real nature of reading and access to works, the real nature of works and modalities of preservation, and to propose some ways of thinking out these questions in a native digital literature ecosystem. Narvika Bovcon (University of Ljubljana) The New-Media Art Communication Models for Virtual Museums New-media art practices can be a reference point in building virtual museums and databases for literary and other artistic or cultural content. The paper presents several case studies: from different conceptual archives in virtual space to information visualization experiments. The verbal information from databases can be preserved and reactivated also by giving it a more material form, such as transforming it into data sculptures. Real exhibitions can be recreated as interactive 3-D computer generated spaces containing simulations of interactive installations, performances and conceptual art, and as on-line diagrammatic representations of content. The new technologies are understood as opportunities to reconstruct and creatively interpret art projects that are difficult to preserve and document. The historiographical practices thus become innovative new approaches to understanding and narrating the reality of today and of the past.


9.00 – 11.00 : Salle Baïetto

Øyvind Eide (Cologne), Modelling as translation: the epistemological value of toolmaking in digital humanities

Marin Laak (Estonian Literary Museum), Piret Viires (Tallinn University), Digital Humanities – a New Tool for Literary Research or a New Discipline?

Carmen Concilio (Torino), Digital “Epitexts” and Literary masterpieces in the Digital Humanities

11.30 – 13.00 : Salle Baïetto

Inés Pérez (Complutense Madrid), Amelia Sanz (Complutense Madrid), Pre and Postglobal Children’s Literature: Conditions to cross over

Philippe Bootz (Paris-8), Do we have to (really) change our mind?

Narvika Bovcon (Ljubljana), The New-Media Art Communication Models for Virtual Museums

14.30 – 16.00 : Salle Baïetto

Panel proposed by Open Literature @Turin

Silvia Ulrich (Turin), Literature, writers and readers in the digital and post-digital age.

Roberta Sapino (Turin), From the ivory tower to WordPress. Authors and selfpromotion in the post-digital age.

Virginia Pignagnoli (Saragosse), Real Readers and Empirical Research: Reading Digital Paratexts.

OPEN LITERATURE (APRILE-GIUGNO 2019): Verso una digitalizzazione di Walter Serner /1

Nel presente contributo (e nei due che seguiranno) intendo esporre la mia esperienza, le mie ricerche e i risultati derivanti dalla collaborazione al progetto Open Literature dell’Università di Torino, da poco conclusasi. Con questa esperienza si è voluto dare una netta sfumatura «deutsch» al progetto, applicando la tecnologia digitale all’ambito specifico della letteratura tedesca, base della mia formazione universitaria.

Più specificamente, possiamo considerare il progetto nel suo insieme come «esplorativo» per un più ampio e ambizioso progetto di digitalizzazione dell’opera dello scrittore di lingua tedesca Walter Serner, attualmente in fase di elaborazione. Rinvio di qualche riga la presentazione di questo autore, poco noto in Italia (un po’ meno in Germania e Austria), per presentare invece qualche conquista delle Digital Humanities «tedesche» che potrebbero dare l’idea di quanto si vorrebbe realizzare con il progetto – diamogli un nome provvisorio – «Walter-Serner-Digital».

Va da sé che un progetto di tale portata esula dalle competenze di un singolo borsista (dalle limitate competenze digitali). Ho quindi cercato di condurre una ricerca letteraria su Walter Serner con i mezzi offerti dall’informatica e dal web. Scopo finale: approfondire vita e opere dello scrittore in questione, divulgarle e, soprattutto, condividere i risultati della mia ricerca secondo il principio del Web Semantico e dei Linked Open Data.

Il primo step

Ma facciamo un passo indietro e procediamo con ordine. Chi è Walter Serner? Con il proposito di introdurre le opere del Nostro a un pubblico italiano, è naturale che sia prima necessaria una presentazione generale dello scrittore. Certo non era mia intenzione stendere una biografia statica… soprattutto di una figura così dinamica! Una delle peculiarità di Walter Serner, che contribuisce ampiamente al suo eclettismo, è la sua predisposizione per i viaggi che lo hanno portato nelle principali metropoli degli anni Venti e Trenta, di cui ha saputo raccontare il demi-monde con una serie di squisiti racconti su criminali e detective, ruffiani e prostitute, «scugnizzi» e truffatori ecc.

È qui che è giunto in mio soccorso uno strumento versatile e user-friendly: StoryMaps JS ( Questo tool open-source, che possiamo definire come uno strumento per la creazione di «mappe narrative», è creatura della community di designers, sviluppatori e studenti dal nome Knight Lab (Northwestern University, Illinois), che, oltre a questo, ha dato luce a diversi altri strumenti utili per le Digital Humanities.

Ma veniamo a StoryMap: Con l’apertura di un nuovo progetto, questo tool – interamente browser-based – permette di generare una serie di slide in cui è possibile associare un testo a un punto geografico; in altre parole, permette di geolocalizzare questo testo. Facendo poi scorrere le diapositive in sequenza, il risultato è un vero e proprio viaggio per tappe, ciascuna delle quali narrata dai nostri testi. Già da qui possiamo farci un’idea della sua versatilità, anche applicata al solo ambito della letteratura: biografie di autori, diari e romanzi di viaggio, romanzi d’avventura, ecc. Insomma, ogni testo letterario in cui la componente «geografica» riveste un ruolo di primaria importanza. Nelle nostre slide possiamo inserire testi integrali (se in pubblico dominio!), riassunti, analisi, e via dicendo. Lo scopo? Didattica, intrattenimento, supporto a presentazioni e così via.

Il testo può inoltre essere arricchito con immagini e altri file multimediali, che aggiungono un ulteriore «livello» al nostro progetto: la copertina di un libro, una foto rappresentativa dell’autore o del luogo; e, perché no, l’audiolettura della poesia Die Gondel di Goethe nel suo soggiorno a Venezia o una scena del film On the Road di Walter Salles (2012) se vogliamo ripercorrere le tappe del viaggio di Kerouac.

Con la feature «gigapixel» è inoltre possibile caricare un’immagine di grandi dimensioni (gigapixel appunto) che va a sostituire la cartina geografica. Così facendo si rinuncia ovviamente alla geolocalizzazione, ma possiamo focalizzarci su punti specifici della nostra immagine caricata. Questo punto sarà sempre associato al nostro testo che ne descrive le caratteristiche: possiamo dunque descrivere i punti peculiari di un dipinto o di una foto, o spostarci su mappe di mondi immaginari, come il viaggio di Bilbo Baggins nella Terra-di-Mezzo. Per un esempio pratico lascio a quello ufficiale, cioè un’analisi del grande quadro Una domenica pomeriggio sull’isola della Grande-Jatte di Georges Seurat (

Un assaggio del nostro progetto

Il progetto di per sé non necessita di grandi spiegazioni, essendo piuttosto intuibili le sue componenti e funzionalità. Voglio tuttavia spenderci qualche parola: I testi che ripercorrono la biografia dello scrittore (scritti da me sulla base delle mie ricerche) sono intervallati da brevi paragrafi autobiografici tradotti dal sottoscritto dal tedesco, allo scopo di vivacizzare un testo che altrimenti sembrerebbe una lezione di storia letteraria. Le fonti sono riportate in dettaglio nella copertina del progetto.

Dietro ai testi fanno capolino le immagini delle città europee visitate, mentre sullo stesso piano si vedono le copertine delle opere di riferimento in quella particolare tappa. Infine, nell’ultima diapositiva, quasi un tributo all’autore vittima della Shoah, un video preso da YouTube di una suggestiva lettura di un passo della Letzte Lockerung, opera principale del Nostro. Con questo ho voluto toccare tutti i livelli permessi di multimedialità, per creare qualcosa di dinamico che si distanzi dalla tradizionale biografia da manuale di letteratura.

In ogni caso, questo è solo un esempio del risultato ottenibile con questo tool. Altra possibilità è quella che ho cercato di realizzare con il Viaggio in Italia di Goethe (in modo parziale), proponendo questa volta il testo integrale in tedesco (giacché in pubblico dominio) accompagnato dalle immagini e da qualche audiolettura dei brani del diario e di alcune liriche del poeta. Per evitare di appesantire troppo la pagina, di quest’ultimo viaggio lascio solo il link:

Per il momento è tutto; vi do appuntamento al prossimo post della «trilogia» che tratterà dell’annotazione digitale.

OPEN LITERATURE (APRILE-GIUGNO 2019): VERSO UNA DIGITALIZZAZIONE DI WALTER SERNER /1 di Mattia Carli è distribuito con Licenza Creative Commons Attribuzione – Non commerciale – Non opere derivate 4.0 Internazionale.
Based on a work at


In this contribution (and in the two that will follow) I intend to present my experience, my research and the results of my collaboration with the project Open Literature (University of Turin). With this experience, the project took on a clear “deutsch” hue, applying digital technology to the specific field of German literature, the basis of my university education.

More specifically, we can consider the project as a whole as an “exploratory” project for a broader and more ambitious project to digitize the work of German-language writer Walter Serner, which is currently under development. I postpone for a few lines the presentation of this author, little known in Italy (a little less in Germany and Austria), to present instead some conquests of the “German” Digital Humanities that could give the idea of how much we would like to achieve with the project – let’s give him a provisional name – “Walter-Serner-Digital”.

A project of this magnitude falls outside the competence of an individual scholar (and also outside limited e-skills). I therefore conducted a literary research on Walter Serner with the means offered by information technology and the web. Final aim: to deepen the life and works of this writer , to disseminate them and, above all, to share the results of my research according to the principle of the Semantic Web and the Linked Open Data.

The first step

Let’s take a step back and proceed with order. Who is Walter Serner? With the aim of introducing our works to an Italian audience, it is natural that a general presentation of the writer is necessary first. Of course I didn’t intend to write a static biography… especially of such a dynamic figure! One of the peculiarities of Walter Serner, who contributes greatly to his eclecticism, is his predisposition for the trips that took him to the main cities of the twenties and thirties, of which he was able to tell the demi-monde with a series of exquisite stories about criminals, detectives, pimps, prostitutes and fraudsters.

This is where a versatile and user-friendly tool came to my rescue: StoryMaps JS ( This open-source tool, which we can define as a tool for creating “narrative maps”, is a creature of the community of designers, developers and students named Knight Lab (Northwestern University, Illinois), which, in addition to this, has given birth to several other useful tools for Digital Humanities.

But let’s come to StoryMap: With the opening of a new project, this tool – entirely browser-based – allows you to generate a series of slides in which you can geolocalize this text. Then by scrolling through the slides in sequence, the result is a real journey in stages, each of which is narrated by our texts. Already from here we can get an idea of its versatility, even applied only to the field of literature: biographies of authors, travel diaries and novels, adventure novels, etc.. In short, every literary text in which the “geographical” component plays a role of primary importance. In our slides we can insert full texts (if in the public domain!), summaries, analyses, and so on. The purpose? Didactics, entertainment, presentation support and so on.

The text can also be enriched with images and other multimedia files, which add a further “level” to our project: the cover of a book, a representative photo of the author or place; and, why not, the audiolecture of Goethe’s poem Die Gondel during his stay in Venice or a scene from Walter Salles’ film On the Road (2012) if we want to retrace the stages of Kerouac’s journey.

With the “gigapixel” feature it is also possible to load a large image (gigapixel) that replaces the map. In this way, we obviously renounce to geolocation, but we can focus on specific points of our uploaded image. This point will always be associated to our text that describes its characteristics: we can therefore describe the peculiar points of a painting or a photo, or move on maps of imaginary worlds, such as the journey of Bilbo Baggins in the Earth-of-Half. For a practical example I leave to the official one, that is an analysis of the great painting A Sunday afternoon on the island of the Grande-Jatte by Georges Seurat (

A sample of our project

The project itself does not need much explanation, as its components and functionalities are rather intuitable. However, I want to say a few words: The texts that trace the biography of the writer (written by me on the basis of my research) are interspersed with short autobiographical paragraphs translated by me from German, in order to enliven a text that otherwise would seem a lesson in literary history. Sources and references are detailed on the project cover.

Behind the texts there are images of the European cities visited, while on the same level you can see the covers of the works of reference in that particular stage. Finally, in the last slide, almost a tribute to the author who was the victim of the Shoah, a video taken from YouTube of an evocative reading of a passage from Letzte Lockerung, Serner’s main work. With this I wanted to touch all the permitted levels of multimedia, to create something dynamic that differs from the traditional manual biography of literature.

In any case, this is just an example of the result that can be obtained with this tool. Another possibility is the one I tried to realize with Goethe’s Italienische Reise (even if in a partial way), this time proposing the full text in German (since it is in the public domain) accompanied by images and some audio-reading of the pieces of the diary and some of the poet’s lyrics. Of this last journey I leave below the link:

For the moment that’s all; I’ll meet you at the next post of the “trilogy” that will deal with digital annotation.

OPEN LITERATURE (APRILE-GIUGNO 2019): VERSO UNA DIGITALIZZAZIONE DI WALTER SERNER /1 di Mattia Carli è distribuito con Licenza Creative Commons Attribuzione – Non commerciale – Non opere derivate 4.0 Internazionale.
Based on a work at

La ricerca scopre il web dei dati

Come descrivere i materiali culturali su Wikidata per una ricerca umanistica interconnessa”

E’ il titolo del Workshop tenutosi all’Università di Torino, Dipartimento di Lingue e Letterature Straniere e Culture Moderne, il 10 gennaio 2019 .

L’evento rappresenta il momento finale di restituzione e di confronto sui risultati del lavoro di ricerca, battezzato con il nome WikiOpenLiterature, svolto nell’ambito del progetto Open Literature, attivo presso il Dipartimento di Lingue e Letterature Straniere e Culture Moderne dell’Università di Torino (
Alla presentazione del progetto Open Literature della Prof. ssa Cristina Trinchero hanno avuto seguito la presentazione di Bianca Gai sulle attività wiki del focus “Biblioteca Digitale”, sulle modalità di descrizione e interrogazione di reti culturali con Wikidata (piattaforma collaborativa di dati strutturati connessa a Wikipedia) e l’intervento di Lianna D’Amato sull’attività di caricamento dei dati della ricerca secondo i principi dei Linked Open Data sulla piattaforma wiki e il loro riuso a supporto della ricerca accademica di ambito umanistico.
Nella seconda parte dell’incontro si è svolta un’esercitazione pratica durante la quale i partecipanti hanno avuto modo di mettere in pratica le nozioni teoriche fornite durante la prima parte, caricando su Wikidata i dati culturali oggetto di studio nel progetto. 
Lo scopo del workshop era quello di fornire a operatori culturali, docenti e studenti la possibilità di scoprire i risultati del progetto interrogando i dati sulla piattaforma Wiki con un linguaggio informatico specifico, di analizzare le potenzialità degli strumenti utilizzati al fine di incentivare/agevolare lavori futuri sui dati culturali e, in fine, quello di coinvolgere attivamente i partecipanti nell’inserimento dei dati sulla piattaforma per mettere in evidenza il vantaggio dell‘attività collaborativa di immissione e condivisione dei dati del patrimonio culturale; infatti, gli enti contribuendo con il proprio materiale culturale hanno la possibilità di potenziare non solo i loro dati, ma in generale di arricchire la rete della conoscenza libera.

Su WikimediaCommons sono disponibili le slide del workshop.

La ricerca scopre il Web dei Dati di Flavia Lianna D’Amato è distribuito con Licenza Creative Commons Attribuzione – Non commerciale – Condividi allo stesso modo 4.0 Internazionale.
Based on a work at

Research discovers the web of data

On January 10, 2019 at the University of Turin took place the workshop “Research discovers the web of data. How to describe the cultural materials on Wikidata for an interconnected humanistic research”.
The event represents the final moment of restitution and comparison on the results of the research work, called WikiOpenLiterature, carried out within the Open Literature project, active at the Department of Foreign Languages and Literatures and Modern Cultures of the University of Turin (
The presentation of the Open Literature project by Prof. Cristina Trinchero was followed by a presentation by Bianca Gai on the wiki activities of the “Digital Library” focus, on the ways of describing and querying cultural networks with Wikidata (a collaborative platform of structured data connected to Wikipedia) and by Lianna D’Amato’s intervention on the activity of uploading research data according to the principles of Linked Open Data on the wiki platform and their reuse in support of academic research in the humanities field.
In the second part of the meeting was held a practical exercise during which participants had the opportunity to put into practice the theoretical notions provided during the first part, uploading on Wikidata the cultural data being studied in the project.
The aim of the workshop was to provide cultural operators, teachers and students with the opportunity to discover the results of the project by querying the data on the Wiki platform with a specific computer language, to analyze the potential of the tools used in order to stimulate / facilitate future work on cultural data and, finally, to actively involve participants in entering data on the platform to highlight the advantage of collaborative activity of inputting and sharing data of cultural heritage; in fact, the bodies contributing with their cultural material have the opportunity to enhance not only their data, but in general to enrich the network of free knowledge.
The slides of the workshop are available hier.

La ricerca scopre il Web dei Dati di Flavia Lianna D’Amato è distribuito con Licenza Creative Commons Attribuzione – Non commerciale – Condividi allo stesso modo 4.0 Internazionale.
Based on a work at

Just Copyleft, cultura libera e diritto d’autore – Turin, June 29th-30th, July 1st @Border Radio

Dear All,

on June the 29th our project “Open Literature” is guest of Border Radio for a talk on public domain and  public copyright licenses. 

Follow us on:


Cari tutti,

il 29 giugno p.v. il nostro progetto Open Literature è ospite di Border Radio in un talk sul pubblico dominio e licenze libere. Info c/o

“Just Copyleft. Musica, cinema e talk
tra pubblico dominio, licenze libere e tutela alternativa del diritto d’autore”,

29 giugno – 1 luglio 2018
presso il centro culturale Comala, Ferrucci 65/A Torino

Comunicato stampa Just Copyleft – 29giugno_1luglio @BorderRadio

Social Network and Literary Research

Dear all,

I would like to share with you this book about Digital Literatures & Cultures .  I would like to know your opinion about it. See the full text “Open Literature” at following link

Warm wishes!

Liebe Alle,

ich freue mich,  folgendes Buch betitelt “Open Literature” zu Digitalen Literaturen & Kultur  mit Ihnen teilen zu dürfen. Ich würde mich auf feed-backs Ihrerseits freuen!

Bis bald!


This blog is meant as a platform to discuss and share research experiences and results in the field of electronic literature in the academic world. Its members are a group of international researchers of World Literature and New Media, who met at the ICLA-Conference 2016 in Vienna and decided to stay in touch in order to share information about calls for conferences on electronic literature, digital humanisties and new media, but above all to share knowledge and research perspectives/results on these topics. The e-Letters group includes researchers from Europe (Italy, Spain, Serbia, Estonia) and from Canada and New Zealand and it will work on the blog by posting always in two different languages (English and another national language).

Comparative Studies on Digital Literature and the New Media

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