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The interaction between humans and digital machines is influenced by many different factors, that have an impact on the rhetorics that are used in the digital discourse. The aim of this article is to explore some of these factors with a particular attention to those that are usually hidden behind the screens: not just the algorithms and the affordances of digital services but also the historical, social and economical conditions that permeate software, platforms, networks and devices. To shed a light on how these factors operate means to deepen our critical understanding of what happens in the digital milieu when it comes to writing. We will draw from the works of Marcello Vitali-Rosati and Katherine Hayles on digital writing for a first theoretical framing; then we will explore some aspects of the role of Amazon in shaping contemporary writing and in revolutionizing the publishing industry (following the work of Mark McGurl); a brief analysis of the concept of linguistic capitalism will follow, based on the academic and artistic works by Pip Thornton. We will then open the reflection about authorship in the digital space before considering the challenges posed by the so-called creative artificial intelligence, with the example of the text 1 the road. To conclude, we will stress the importance of exploring the digital machine in order to better understand not just the machine itself but our relationship with it. Following the philosophical path laid out by Karen Barad and Katherine Hayles, we will open to the hypothesis of the need of a paradigm shift in the Humanities to include new forms of cognition in our analyses, starting from the cognition of the digital machine. [ABSTRACT FROM AUTHOR]

Reseña de Panorama histórico del libro y la edición digital. Fernando Cruz Quintana. Guadalajara, Jalisco; Colombia; Córdoba, Argentina; Chile: Universidad de Guadalajara / Universidad de los Andes, Ediciones Uniandes / Universidad Nacional de Villa María / Pontificia Universidad Católica de Chile, 2022, 151 p. ISBN: 9786075715964.

The article explores the emergence and evolution of book clubs in France, focusing particularly on the French Book Club. It delves into the history of book clubs globally, emphasizing their significance in literary distribution and the cultural landscape. It states that through interviews and archival research, the study highlights the unique trajectory of the French Book Club, its pioneering role in post-World War II publishing, and its impact on the French literary scene.

Copyright of Lengas is the property of Presses Universitaires de la Mediterranee and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article explores William of Poitiers’ Gesta Guillelmi for its failed manuscript transmission. In spite of possessing various advantages, literary and social, the work found very few readers and was soon forgotten. It is proposed that the transmission relied on, or consisted of, an untidy autograph, lost in the eighteenth century. According to Orderic Vitalis, William did not complete the work due to “unfavourable circumstances”, probably related to the latter’s connection to the Conqueror. The essay contributes to two burgeoning scholarly discussions, on authorial publishing and on why some works failed to find readers.

The article treats the activities of Estonian exile publishers in the Soviet Union (1918–1937) and in the West (1944–1991), concentrating on the publications of translated literary works. The analysis includes the study of the motives for publishing literary translations and the functions these publications were supposed to fulfil in these two different contexts of production and reception. The publishing of Estonian-language literary works in the Soviet Union is studied in the framework of national and cultural policies of the 1920s and 1930s, which determined the development of minority publishing. The output of translated literature by Estonian-language publishers is compared with the all-union translation policy and its preferences in the selection of authors for translation. The treatment of the Estonian-language publishing in the West focuses on the activities of Andres Laur and his publishing house Orto that issued most of the literary translations. The translation publications by other publishers (Vaba Eesti, Eesti Kirjanike Kooperatiiv) represent alternative modes of selection, illustrating the variety of motives.

The young field of Publishing Studies has made valuable contributions to the understanding of literature and culture, but has disregarded the participation of women, which recent studies seek to discuss. This article reviews a group of women book publishers –from the 20th and 21st centuries in Latin America– and focuses on four areas ( fields, objects, variables, and problems) to underscore relevant questions for Gender and Cultural Studies.

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The tradition continued to be important, though the controversial issue of Hungarian book publishing in Romania following the 1989 changes from a socialist to a market economy and from a dictatorship to a democracy. While before 1989 the Hungarian publishing scene was largely dominated by one publishing house, Kriterion, during a period of transition it gradually diversified both structurally and in the way of editorial programs. Cultural traditions, the quality as well as the number of available manuscripts and the reading public’s expectations on the one hand, and financial and logistical circumstances on the other were some of the main factors that determined editorial programs in the transitional era. Pre-1989 Kriterion’s editorial program seems to have been a benchmark for budding publishing houses in many respects; however, there are also a number of positive/negative divergences. My paper examines the extent to which, after the regime change, Hungarian publishing houses in Romania continue and/or break the traditions established by former editorial boards, also, it presents the circumstances that influenced editorial programs in the new era.

Diccionari per a ociosos (1964) is acknowledged as one of Joan Fuster’s most important books, a touchstone of so-called free and deliberative essay. Even so, although it has already been made clear that the origin of the texts is often found in the author’s diary or in previously published newspaper articles, the sources of this work have not been analysed in depth. In this paper, specifically, we aim to study the rewriting process that gave rise to the entry «Love». Thus, we will verify which previous texts by the author announce the topic and thesis of this entry, in particular the column «El “amor” en baja», published in the «Examen de conciencia» section of El Correo Catalán on 17 March 1963. The study of the thematic and stylistic coincidences, in some cases literal, that we find between these two texts, will also involve the ascertainment of the differences that can be observed. Based on this specific analysis, in short, we will be able to draw a series of conclusions about the process of choosing and reworking the materials that, finally, gave rise to Diccionari per a ociosos.

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Dopo un’introduzione sulla rivalità che, nel corso del Cinquecento, contrappose a Venezia gli editori Giunti e Valgrisio, entrambi impegnati a stampare gli Opera omnia di Galeno, si trascrivono ampie parti di una lettera finora misconosciuta, conservata presso l’Archivio di Stato di Firenze. Si tratta di una missiva risalente all’aprile 1565 del medico Filippo Niccolozzi, nipote di Tommaso e Giovanni Maria Giunti, indirizzata a Firenze al maggiordomo granducale Luigi Gherardi da Borgo San Sepolcro. Niccolozzi, oltre a fornire informazioni sugli zii e a menzionare i medici umanisti Jacopo Antonio Mariscotti e Agostino Gadaldini, parla di un enigmatico monaco greco di nome “Theoglipto” che avrebbe ottenuto cinquecento scudi d’oro per recarsi “in Grecia” a recuperare un favoloso codice galenico contenente, tra l’altro, il perduto De demonstratione, intorno al quale in quegli anni è documentabile un notevole interesse. Con ogni probabilità si trattò di una truffa o di un abbaglio, da inquadrare però nel particolare clima di competizione editoriale, nonché di spregiudicata ricerca e “creazione” di inediti galenici, attestato all’epoca a Venezia e alimentato dal perdurante mito delle favolose biblioteche bizantine e postbizantine. After an introduction on the rivalry that pitted against each other the publishers Giunti and Valgrisio, both engaged in printing Galen’s Opera omnia in Venice during the sixteenth century, large portions of a hitherto unnoticed letter preserved in the State Archives of Florence are transcribed. It is a missive dated April 1565 from physician Filippo Niccolozzi, nephew of Tommaso and Giovanni Maria Giunti, addressed from Venice to the Grand Ducal chamberlain Luigi Gherardi in Florence. Niccolozzi, in addition to providing information about his uncles, and mentioning the humanist physicians Jacopo Antonio Mariscotti and Agostino Gadaldini, speaks of an enigmatic Greek monk named “Theoglipto”, who allegedly obtained five hundred gold scudi to travel “to Greece” to retrieve a fabulous Galen codex containing, among other things, the lost De demonstratione, around which considerable interest can be documented in those very years. In all likelihood, this was a swindle or a blunder, to be framed, however, in the particular climate of publishing competition, and also of reckless research and “creation” of unpublished galenic manuscripts, attested at the time in Venice, and fueled by the enduring myth of fabulous Byzantine and post-Byzantine libraries.

Through the “editorial trajectory” of Ömer Rıza Doğrul (1893-1952), the aim is to revisit the question of the expression of Islamic religious sensibilities in republican Turkey, from 1923 until the beginning of the 1950s. The editorial trajectory of this committed Muslim intellectual and journalist, author of a commentary/translation of the Quran, published in Latin characters as early as 1934 - a trajectory defined both by the works published and by the publishers by whom they appeared – is not limited to a production on Islam by Islamist publishers. It also includes other works, including novels, essays and self-help books (often, but not always, translated from English or Arabic). Their analysis and the consideration of publishing houses show that the expression of a religious (modernist) sensibility has been restrained in a variable way according to the periods, and that it has itself managed to metamorphose into other forms such as the novel, but also self-help, thanks to publishing houses of different sensibilities (Islamist, generalist, spiritualist, or even politically totally opposed).

“Literature” in general is currently undergoing radical transformations, that are also visible in the way playwrights create and identify themselves. The early 2020s saw the launch of new collections by publishing houses, aiming at blurring the boundaries between theater and literature. These collections respond to various issues within the publishing field, and have an impact on the relations between theater text and literature, on a theoretical level. Furthermore, publishing and artistic practices are also being reinvented through more underground or handcrafted forms (fanzine, self-publishing or ephemera), with the hope of tipping the balance of power governing the relationships between actors of the literary and theatrical fields on a political, economic and aesthetical level. By comparing different publishing gestures, and paying attention to their materiality, I will question how theatrical texts seek their inscription in the literary field, making room for new functions of the text, new editorial and auctorial figures, disrupting their reception.

With the rise of various practices of publishing (making literature available to the public), it seems necessary to better frame and define what is increasingly referred to as the “literary arts”, a term that refers to the idea of “living literature”, which unfolds outside the book. Closer consideration of these practices supposes to situate them within North American and European literary circles, to see the state of critical discourse about them and to reflect further on their terminological capture. Text-based events, text exhibitions, and mediated literary texts: all literary arts can be gathered under these three headings according to the relationship that texts maintain with the medium, the public and the socio-cultural context. A proposal for an inventory and classification of current practices is submitted to the community, in order to give institutional existence to these new ways of publishing literature.

This article analyses Italian illustrated editions of Little Women published between 1908 and 1945. After an overview of the publishing history of the novel in Italy, the paper will examine Italian illustrations as hermeneutic tools in order to examine their ideological function in the representation of gender. The belated reception of Alcott’s novel in Italy, caused by its representation of a nonconformist educational model for girls, is mirrored in the tension between the nationalistic drive and the influence of foreign models that can be pinpointed in the illustrated editions. By analyzing adaptations of American illustrations, original Italian creations, and omissions of iconic illustrations, this paper will unveil how much the visual element is embedded in the Italian historical and cultural context, as the choice (or omission) of particular images impacted the interpretation of the book. By examining the Italian editions of Little Women published in this time frame, we will also be able to retrace the links with the American illustrated history of the book and bear testimony to the powerful impact of the 1934 film version on printed editions.

Far from wishing to elucidate the notion of series in the field of children’s books, this contribution aims to “go back in time” and to draw up a list — possibly with commentary — of the books that two major publishers, Louis Hachette, then Pierre-Jules Hetzel and his son, undertook to publish from the Second Empire to the 1880s for the Hachette house and up to the threshold of the 20th century for those of the Hetzel house. The aim is to offer what might be called a prehistory of the series of children’s picturebooks in France.

This paper examines how the use of and preference for the English language in scholarly communication enacts epistemic oppressions on global, regional, and local stages to delegitimize knowledge and knowers active in other languages and epistemological frameworks. Specifically, this paper argues that internationalized languages of economic and metrics-based value interact and intersect with the over-valuation of English, which has detrimental consequences. Four readings of the interplays between language and value in the scholarly ecosystem are presented. As questions of knowledge production, epistemic oppression, and justice are not confined to one discipline or community, each reading engages with the theory and praxis of scholars from local and Indigenous communities, and scholars and practitioners in a range of other areas. The first reading, Language Has Value, examines the knowledge and value embedded in languages, as well as the implications of monolingualism for global knowledge production and use. Focusing on the publishing industry, Language of Value interrogates the internationalized economic values that shape mainstream approaches to open access and overlook regional situations. Language of Evaluation attends to the symbolic market of research metrics and evaluation criteria that forces researchers to choose between topics that are locally relevant and those deemed important by the mainstream community. These readings are followed, in Language and Value, by lessons learned from established models and tools for knowledge production and dissemination that actively resist intersecting oppressions. The paper closes with a call to the research community to imagine and work for sustainable and equitable approaches to scholarly communication that break open and away from the epistemic enclosures dominating the present system.

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Copyright of Francosphères is the property of Open Library of Humanities and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The present paper focuses on the novel Our Riches [Nos Richesses] published in 2017 by a young Algerian writer, Kaouther Adimi. The book is set in 20th century Algeria and narrates the history of Les Vraies Richesses, a publishing house and library founded in Alger by Edmond Charlot, which is to be closed in 2017 by Ryad, a young Algerian living in Paris, who has come to Alger to do his internship. The aim of the paper is to analyse the French-Algerian relationships depicted in the book and to study whether the novel may be inscribed in the concept of "francophonie". It is divided into three parts. The first one investigates the structure of the book, its language and historical events described by the writer. The second examines the character development and the roles of the main protagonists and the last one focuses on the use of pronouns "you" and "we". [ABSTRACT FROM AUTHOR]

The author of the paper proposes to take a closer look at the collection Frankofonia Literaria in which French-language literature is published in Polish translation. In the case of the collection, several phenomena specific to the mechanism of the editorial choice, and then the way of presentation of the source target in translation in the paratexts (especially peritexts) are articulated. The author analyzes the profile of the publisher, the profile of the translator and then the nature of the editorial peritext. She also reflects on the specificity of the decision-making process as well as on the role(s) of the translator both in the choice and in the dissemination of the translated works. [ABSTRACT FROM AUTHOR]

The article sheds light on Valérie Lévy-Soussan's pivotal role in the evolution of audiobook development, focusing on her journey in the publishing industry. It mentions that as the head of Audiolib, a leading audiobook publisher in France, Lévy-Soussan played a crucial role in the industry's growth, navigating the shift from physical formats to digital consumption.

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At the turn of the millennium, powered by emerging canons, a narrative of discovery and art-historical contextualisation, the photobook became a central object of interest for photographers, scholars and collectors. As a product of this situation a community coalesced, constructing photobook-specific events, platforms and publications that gave space to deep-dive the processes and products of book making. Now, the photobook enters a new moment. As large institutions embrace photography on the page more readily and the frenzy of the photobook phenomenon is tempered, an emerging critical movement seeks to address the sustainability, reception and legacy of the post-millennium medium. This article argues that key to such discussions will be the previously sidelined matter of reading and what it can contribute to a prevailing, production-oriented discourse. By reviewing what literature exists around the subject and its periphery, combining with reflections on the author’s own activities and drawing from a number of contemporary photobook initiatives it is posited that there are three substantial challenges that can arrest visibility and comprehension of photobook reading. From the difficulty faced when speaking about books to an absence of space held to accommodate reading and the subdued level of interest in this elusive activity, each theme is outlined and expanded in turn before being located as pivotal in constructing a more inclusive and meaningful future for the photobook.

Beppe Fenoglio’s novel Una questione privata (Garzanti, 1963; Einaudi, 1978) is written in a more “traditional” language with regard to the Fenoglio canon (characterized by English grammatical structures and words) and constitutes an emblematic case in terms of thematic similarity to Spanish history that could have sustained a synchronic translation with reference to its year of publication. This article aims to investigate the translational choices by Elena del Amo (Un asunto privado Ediciones Barataira, 2004).

Although women have a long history of contributing to classical scholarship, they continue to be a minority both among faculty members and scholarly authors. In this paper, I compare the proportion of women employed at Classics departments in the US, Canada, UK, and Ireland with their proportion among the authors of a sample of English journal articles. While the overall institu­tional gender balance is approaching parity, women continue to be under­represented in senior positions, and progress seems to have stalled over the last ten years. In addition, my analysis of the L’Année philologique database demonstrates that while the share of articles written by women has greatly increased from 1970 to 2009, it has remained stagnant since, hovering just around the 28% mark. I hypothesise that the main reason for women’s con­tinued underrepresentation in Classical scholarship, apart from uncon­scious biases, is the disproportionate share of care responsibilities shouldered by women both within and without academia. In order to improve the situation, I propose a series of interventions to be taken by journal editors and university administrators, particularly the introduction of quotas.

The article proposes a diachronic presentation of the translations of books of Orthodox Christian spirituality written in French from traditional Orthodox languages (Russian, Greek, Romanian and Serbian), published at two Swiss publishing houses with massive dissemination in France and especially in one of their collections, entitled "Great Orthodox confessors of the twentieth century" (« Grands spirituels orthodoxes du XXe siècle »). The presentation is complemented by an analysis of the axiological dimension of these translations, which consists in highlighting the Christian values proposed as models of orthodox life validated culturally and religiously by the translated authors and the characters of their books, by acquiring the holiness. The analysis also includes an exploration of the special profile of translators. [ABSTRACT FROM AUTHOR]

Copyright of Présence Francophone is the property of College of Holy Cross, Department of Modern Languages & Literatures and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Nearly 50 years after the release of Mafalda’s first edition in France, it is worth considering whether French readers today perceive its political dimension. This paper presents some thoughts about traces of historical context and manifestations of political compromise in this classic comic strip, created by Quino and initially published in the Argentinian press between 1964 and 1973. It pays special attention to the amount of impact it created among the readers depending upon certain translations and publishing options.

This article looks into five case studies that locate the moment of appearance of the phenomenon known as quality bestseller in the Spanish publishing field of the 80s. For this purpose, the material protagonists, collections and mediators that take part will be taken into account, as well as the series of bets that are carried out to introduce the different publications in a new literary system.

Walter Scott and Washington Irving are prominent representatives of the Romantic era who were bound by both professional and friendly relations. Their friendship is a remarkable episode in the history of transatlantic literary contacts. In 1817, in Abbotsford, their personal meeting took place, which positively influenced Irving's career. Scott introduced his colleague to his friend John Murray, who was one of the most influential Scottish publishers of his day. Through this meeting, Irving became the first American writer to gain recognition in the UK. An idea of the relationship between Scott and Irving is given by their personal correspondence. Despite the fact that some letters have been lost or are currently in the hands of private collectors, there is enough published material to outline the main topics and interests that united these two writers. In an addendum to the article there are four letters in Russian translation, written in October–December 1819. They are especially noteworthy because they touch on a number of important aspects for Irving's career. In 1819, the American writer took the first steps towards publication in Great Britain and turned to Scott for help. From the master he received a professional assessment of his American editions of The Sketch Book. Scott gave advice on what books are best to publish for an English reader, as well as offered to take the editor post of an anti-Jacobin magazine. In addition, in these letters Scott introduced his American colleague to the intricacies of 19thcentury Scotland book-making and offered the most beneficial ways to communicate with publishers, which is also of interest from the point of view of the history of publishing in the 19th century Great Britain.

Volcanic activity is an important geological phenomenon in the evolution and development of the earth and brings rich resources to benefit human society, such as geothermal resources, valuable minerals, petroleum, and natural gas, although volcanic eruptions cause serious threats to the ecological environment of our planet. The co-development of oil and gas and volcanic activity in the same basin is a common phenomenon globally. Volcanic activity can bring abundant nutrients into the basins, conducive to the development of algae and other microorganisms in the water body. After the death of organisms, their remaining settles down to the water bottom and accumulate in the sediments. Meanwhile, reducing gases, releasing along with the volcano eruption, including H2S, CO2, etc., result in anoxia in the water body, benefiting the preservation of organic matter at the bottom and brings a large amount of material basis for the generation of oil and gas. Additionally, volcanic activity and hydrothermal fluids are rich in acid substances, will dissolve part of the minerals in the formation, generates a large number of migration channels for oil and gas migration. Some volcanic rocks are rich in pores, making them natural tanks for oil and gas storage. However, volcanic activity also has destructive effects on oil and gas accumulation. High hydrothermal/volcanic input can dilute primary productivity or reduce the abundance of organic matter due to high deposition rates, while excessive volcanic activity or hydrothermal fluid input can introduce large amounts of sulfate into the water, causing strong bacterial sulfate reduction (BSR). The high consumption of organic matter can hamper the organic matter enrichment. Therefore, how to define appropriate volcanic activity conducive to organic carbon preservation, and to establish the relationship model between volcanic activity and organic matter enrichment, are key scientific issues.

The article informs on the Society of Mercure de France's structure in 1894. It mentions How to found a journal? How to finance it? Who should run it? These are all questions that the "Founding Fathers" of Mercure de France were able to answer in order to bring to fruition this adventure, along with the role of journalists and the management.

The article examines the history of cinema in the journal "Mercure de France" from 1905 to 1933. It mentions Mercure de France's coincided with the emergence of the Seventh Art, a look back at the first years of a tumultuous relationship between this journal and the cinema, source of many misunderstandings.

The article examines the engagement of author Marcel Proust with the journal "Mercure de France." It mentions the 1920s saw the "Nouvelle Revue Française "gradually supplant the Mercure de France, in which one could read both very harsh reviews of the works of Proust, but also original analyses, such as those of René Rousseau and Raphaël Cor.

The article offers insight to the journal "Mercure de France." It looks back at the founding of the journal and the editorial, artistic and political orientations that made it successful. It also mentions a brief history of its publication, structure and the management of the literary magazine "Mercure de France."

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Copyright of Kwartalnik Neofilologiczny is the property of Polish Academy of Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In many disciplines, most conference presentations end when the conference does; they do not go on to become peer-reviewed articles. Yet there is also research to suggest that continuing to work with a conference paper to turn it into an article leads to higher research productivity overall, with additional benefits of increasing a researcher's confidence, motivation, and capacity for further research (Lee & Boud, 2003). This article was itself once a conference presentation or, more precisely, a workshop entitled “Transforming Your Conference Paper into a Journal Article” developed for University of Saskatchewan and Saskatchewan Library Association member librarians, and presented to researchers and writers from diverse disciplines. At those presentations attendees asked whether I would be turning this presentation into an article – a very meta question that did indeed seem like a logical next step! Synthesizing multidisciplinary scholarship on academic writing, resources from academic writing coaches, and case studies, this piece is intended to be a DIY workshop focusing on concrete strategies for addressing major barriers in the conference paper-to-article editing process.

The paper provides a critical review of the predatory journals phenomenon, which affects the field of scholarly communication in the Open Access era. It offers an analytical account of the debates, the research being done and the methodologies used, and discusses the multidimensional definition of predatory journals and of the new market for lists of 'legitimate' and 'illegitimate' journals. The article identifies the main ethical and scientific issues that predatory journals raise in the Open Access publishing era and reports on the contexts that lead researchers, both young and senior, to publish in these outlets. By linking predatory journals to the field of scholarly communication, the article highlights the main issues and establishes them as research topics. The article concludes with research avenues that contribute to the analysis of mutation in digital scholarly communication. [ABSTRACT FROM AUTHOR]

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By means of archival sources, this study reconstructs the life of anti-fascist Ettore Carozzo, an engineer from a wealthy family, who fought in the Great War, and who was politically active in the context of the Italian People’s Party (Partito Popolare Italiano) founded by Don Sturzo. With the coming to power of Fascism in Italy and the abolition of freedom and of the press, Carozzo decided to move abroad. A pioneer of the publishing industry in Paris, his printing press began helping the exiled Italian members of the People’s Party by publishing books and magazines. Ettore Carozzo maintained a close relationship with anti-fascist intellectuals Luigi Sturzo, Gaetano Salvemini, and Luigi Francesco Ferrari. In the post-war period, his work as an anti-fascist editor and his willingness to help out political refugees in Paris was soon forgotten.

Librarians have responded to the decades-long “serials crisis” with a common narrative and a range of responses that have failed to challenge the ideology and structures that caused it. Using Walter Rodney’s theory of a guerilla intellectual, we critically examine the dominant understanding of this so-called crisis and emphasize the role that capital plays within it. The imperial nature of scholarly journal publishing and some of its many contradictions are discussed. “Transformative” agreements receive special attention as a hyper-capitalist manifestation of these contradictions at the heart of commercial publishing.The politics of refusal are one response to the commercialism, prestige, and power imbalances that drive the academic publishing system. Highlighting the differences between refusal and reform, this paper explores the protagonistic role that librarians can play in a protracted struggle within and beyond the confines of our profession. Select open access efforts are identified at the end as examples of different forms of refusal. This paper is intended to move beyond the traditional discourse of laying blame solely at the feet of the academic publishing oligopoly and also expounds on the bourgeois academy’s use of knowledge production for capital accumulation.

International book fairs (IBF) are the most dynamic events for observing the agents, practices, ideas and powers that define the books available in the publishing markets in certain coordinates of space, time and language. The article presents a reflexive return to research experiences on IBF, which began thirty years ago. It aims to contribute to a topic that has only very recently gained interest from colleagues of multiple national and disciplinary backgrounds; in other words, an object of knowledge in the process of being legitimised. The impetus for this exercise was the experience of arranging the archives generated over a dozen ethnographies in various fairs in Latin America and Europe for public consultation. The transformation of the archive, its passage from a private reservoir to a public one, was the product of two demands: one institutional and the other from colleagues from six different national origins who asked to review the documentation generated in my fieldwork. The theme is open with an analogy between the visible face of publishing production in general and in the social and human sciences in particular (what we can communicate in articles and other productions) as opposed to the face in shadows: the actions of intermediaries in that market of symbolic goods (publishers, booksellers, translators, etc.), on the one hand, and the work of knowledge production which precedes the publication of results (fieldwork, classification of materials, composition of archives, institutional conditioning, etc.), on the other. To enliven this set of experiences, the text then transcribes fragments of a field notebook (written in Liber-Madrid '97) and moves on to an analysis of the evidence, where I select some of the most productive conceptual axes in my work, such as the relations between professionalisation and internationalisation, between nation and globalisation. The documentary and analytical ensemble provides a substrate for problematising field archives and ethnography of archives, with a view to an epistemological proposal that enhances the dialectic between both poles or means of knowledge production. At the crossroads between personal forms of making ethnography with a certain archaeological imprint and the response to hypotheses by authors such as Foucault and Bourdieu on the powers and structures, spaces and times of the production of science, this article is ultimately oriented towards an analysis of the conditions under which subjects, areas of research and disciplines are legitimised in the contemporary social and human sciences.

The article examines the polygraphic prerequisites for social reflection of the late Soviet and post-Soviet intellectuals and the connection between the autonomy of intellectual work and the autonomy of the publishing cycle. Based on a comparison of changes in publishing technologies and procedures for preparing manuscripts for printing, the change of large paradigms in the perestroika era is reconstructed as derivatives of the cult of reading and the system of institutions that support it. It is argued that although intellectuals upheld the classical canon, the very ways of canonizing works of the past were deformed by changing publishing procedures. The crisis in publishing planning coincided with a new understanding of the intellectual's mission, which meant the establishment of new types of reading as dominant. Thus, the thought of autonomous culture and the simultaneous reconceptualization of world literature contributed to the understanding of publishing procedures as autonomously significant. The disintegration of the disciplinary order of the Soviet publishing sphere and independent scientific book publishing made it possible to complete the project of describing literature as a place of production of norms for the reception of culture that cast doubt on the previous state of literature, thereby approving the program of post-Soviet cultural studies.