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En el presente artículo se hace un análisis de lo que ha supuesto el acercamiento de las denominadas Generación Millennial y Z al ámbito literario en el contexto del mundo globalizado marcado por la eclosión de Internet. Si los Millennials tanto de España como de Latinoamérica, con su inmersión en el ámbito digital, provocaron que el mercado representado por los grandes grupos editoriales se interesara ante los evidentes beneficios económicos de la nueva literatura surgida al calor de las redes, la segunda fase de esta generación sociológica –según nuestra percepción–, los Centennials, han reforzado estas nuevas formas de acercarse a lo artístico (plástico, literario, musical, etc.) evidenciando que las redes sociales se han convertido ya un eje axial que condiciona cualquier faceta de sus vidas. Esto es, que cualquier aspecto que no se trate en la Internet con una repercusión significativa para ellos pasa totalmente desapercibido. Por ello, el libro tradicional como herramienta para acercarse al público lector, en muchos casos, no es ahora ya el principio del camino para darse a conocer, sino el final de una de las fases de producción de los nuevos discursos enmarcados en la modernidad líquida, si seguimos la terminología de Bauman. La cuestión que abordamos, partiendo del (re)conocimiento de los autores nacidos entre 1982 y 2010, es si la manera que aplican en la mayoría de los casos para acercarse al lector responde a una moda transitoria, vinculada primordialmente al marketing de este momento concreto con un perfil determinado de autor, que, a medio plazo, no afectará al desarrollo del canon diacrónico sostenido en la tradición secular; o bien si la crítica y los estudiosos deben afrontar que ha surgido una nueva estrategia para construir y visibilizar lo creativo, desde las diferentes perspectivas posibles, con voluntad de perdurabilidad y capacidad para provocar una fractura significativa en relación a los modelos habituales discursivos canónicos y de proyección/difusión de las obras literarias. In this article we present an analysis of what has meant the approach of the so-called Millennial and Z Generation to the literary market in the context of the globalized world marked by the emergence of the Internet. If the Millennials of both Spain and Latin America, with their immersion in the digital sphere, caused the market to be interested in the obvious economic benefits of poetry that emerged from the heat of the networks, the second phase of this generation in the creative –according to our theory–, the Centennials, have reinforced these new ways of approaching the artistic (including literature) showing that the Internet is already an axis in any facet of their lives. The question addressed, based on the (re) recognition of authors born between 1982 and 2010, is whether we are facing a transitory fashion, linked primarily to marketing, which, in the medium term, will not affect the development of the diachronic canon sustained in tradition; or whether critics and scholars have to face that a new way of constructing an artistic discourse has emerged with a desire for durability and the ability to cause a significant fracture in relation to the usual canonical discursive models and the projection/dissemination of literary works.

O livro é um objeto dual, passível de ser simultaneamente perspetivado como bem cultural e mercadoria. Partindo da indagação dos contornos socio-históricos que esta dualidade assume no campo literário oitocentista, analisa-se, na presente dissertação, o posicionamento que Eça de Queirós adota face à dupla dimensão – artística e comercial – da sua obra. Para esse efeito, compara-se a axiologia literária expressa na ficção do autor com a que ele próprio enuncia na sua epistolografia e escritos doutrinários. Em confronto com os escritores retratados na sua ficção, Eça enuncia uma consciência apurada da literatura como comércio, que tendencialmente se opõe à visão anacronicamente idealizada dos seus tipos ficcionais, de recorte maioritariamente romântico. Concluiu-se, assim, que o autor aceita a dualidade dos seus textos, considerando-os, concomitante-mente, como arte e comércio. O diálogo estabelecido entre discurso autoral e produção ficcional permitiu-nos ainda verificar que não há, nas narrativas queirosianas, nenhuma personagem que fielmente mimetize o posicionamento de Eça em relação à dualidade do livro, tomando-o, quase exclusivamente, como um objeto apenas cultural. The book is a twofold artifact which can be regarded as both a cultural good and a commodity. Based on the historical and social inflections taken by this duality in the 19th century literary field, we analyze the standpoint of Eça de Queirós as far as the double dimension of his work – artistic and commercial – is concerned. To that purpose, we compare the literary axiology patent in his fictions with the reflections the author has explicitly put forward in his letters and essays. In comparison with the writers portrayed in his fiction, Queirós reveals an acute con-science of the commercial side of his trade, in obvious contrast with the anach-ronistic and idealized views of his fictional characters, most of them shaped according to romantic codes. We have therefore concluded that the author accepts the duality inherent in his writings, viewing them simultaneously as art and business. The juxtaposition between authorial discourse and fictional production has led us to ascertain that, in Eça de Queirós's narratives, no character replicates the author's stance regarding the duality of books, which they mostly tend to consider as an exclusively cultural object Mestrado em Estudos Editoriais

Ariana Harwicz (1977) es una de las escritoras argentinas más destacadas de la literatura feminista en lengua española del siglo XXI. En este trabajo, se lleva a cabo un análisis de sus tres primeras novelas, Matate, amor (2012), La débil mental (2014) y Precoz (2015), desde un marco teórico cuádruple: hermenéutico, comparatista, feminista y material. Asimismo, enmarcamos la lectura realizada en los fundamentos teóricos del close Reading (Moretti), la sociología de la literatura de Bourdieu (producción y circulación) y la estética de la recepción de Jauss. Tras el análisis de su narrativa, la obra de esta autora, que no ha sido aún lo suficientemente estudiada, se revela como un auténtico baluarte de la ilegibilidad literaria, así como del lenguaje poético, y una reivindicación del silencio como forma de decir para las narradoras, en tensión continua con la idea de mujer que la sociedad heteropatriarcal ha ido creando y perpetuando, en búsqueda desesperada de un lenguaje otro y de la emancipación (feminista) a través del deseo y de la cancelación de la norma. Por otro lado, desde un enfoque material, creemos que es interesante y necesario analizar la circulación tan amplia que la obra de Harwicz alcanza, así como las posibles causas del incremento de su capital simbólico en el campo literario argentino y mundial. Ariana Harwicz (1977) is one of the most prominent argentine writers of feminist literature in Spanish from the twenty-first century. In this dissertation, an analysis of her three novels, Matate, amor (2012), La débil mental (2014) and Precoz (2015), is conducted from a quadruple theoretical framework: hermeneutic, comparatist, feminist and material. Additionally, we highlight the interpretation made in the theoretical foundation of close Reading (Moretti), Sociology of Literature (Bourdieu, production and circulation) and reception theory (Jauss). After the narrative analysis of Harwicz, her production, which has not yet been sufficiently studied, appears like as a real bulwark of literary illegibility and poetic language, and it is also an assertion of the silence as another way of saying for the narrators, who are in continuous tension with the idea of woman that hetero-patriarchal society has been creating and perpetuating; in a desperate search for another language and feminist emancipation through the desire and the cancellation of the norm. Furthermore, from a material approach, we consider that it is interesting and necessary to analyse the wide circulation of Harwicz’s work, as well as the possible causes of the increase of her symbolic capital in the Argentine and global literary field.

O objetivo deste estudo foi identificar e analisar os diferentes atributos que podem ser considerados como importantes pelos compradores de livros pela internet na decisão de compra. Para tanto, realizou-se uma pesquisa quantitativa com 301 pessoas, realizando um survey online. Os dados coletados foram analisados por meio de estatísticas descritivas. Dentre os principais resultados, destaca-se a constatação de que os compradores de livro pela internet dão maior importância a aspectos de confiabilidade e segurança da loja virtual, enquanto as dimensões de desempenho do sistema e conveniência, embora notadamente importante, não parecem ter o mesmo peso. Foi também constatado que há uma tendência à adoção das lojas virtuais como principal canal de compra de livros. A principal contribuição desta pesquisa é a colaboração na compreensão mais clara de quais sejam os aspectos mais influentes no comportamento do consumidor de livros no varejo virtual. The aim of this study was to identify and analyze the different attributes that might be considered as important by online book buyers in regard of purchase decision. To this end, a qualitative research with 301 people was carried out through an online survey. The collected data was analyzed through descriptive statistics. Among the main results, the finding that internet book buyers consider the online stores’ reliability and safety as most important might be highlighted. Meanwhile, the system performance and convenience dimensions, although notably important, do not seem to have the same weight. It was also found that there is a tendency to adhere to online stores as the main sales channel of books. The main contribution of this research was the collaboration in a clearer comprehension of the most influent aspects of consumer behavior in online book market.

Este trabajo pretende analizar el mercado literario de la ciudad de Cali, durante el periodo del primer Centenario de la Independencia. El objetivo consiste en mostrar cómo, gracias a la expansión de la oferta literaria por medio de las librerías locales, la prensa literaria circulante y la apertura de la primera biblioteca pública de la ciudad, el campo cultural empieza a sufrir transformaciones que se contemplaron como pasos hacia la modernidad. Se examinarán también las tipografías e imprentas, los periódicos, los catálogos de las librerías y el origen de la Biblioteca del Centenario con el fin de aproximarnos al mundo del libro y las lecturas en Cali durante 1910, bienes simbólicos contemplados como piezas fundamentales del ideal civilizatorio.

Historically, scholarship on Latinos in the U.S. has not included the literary work of Dominicans in the U.S. This paper details the history of the creation of literary spaces for female and male Dominican writers in the U.S. and their allies, in particular the monthly tertulia run by the author, which became a space for production, reflection, and support for a collective of women producing at the margins of the U.S. literary establishment and even of the Latino academic and literary community., Históricamente, la literatura académica sobre los latinos en los Estados Unidos no ha incluído el trabajo literario de los dominicanos residentes en los Estados Unidos. Este trabajo detalla la historia de la creación de espacios literarios para escritoras/es dominicanas/os en los Estados Unidos y sus aliados, en particular la tertulia mensual dirigida por la autora, que se convirtió en un espacio de roducción, reflexión y apoyo para un colectivo de escritoras que producen al margen de la maquinaria literaria estadounidense y aún de la comunidad literaria y académica latina de los Estados Unidos.

In the following pages I look at literary representations of the literary market in the eighteenth century, focusing on conflicting ideas about writing for money. In many works relations between monetary interest, political dependence and artistic form enact the dilemmas of a commercialised society in the specific domain of literature. With the growth of the print market and the definition of literary property, the image of the professional author was opposed both to the commercial author and to the gentleman author. The economic independence that came with the privatisation of the imagination and with the commodification of writing was seen as an advantage of the new commercial society.