The Atlas of Brazilian Digital Literature

Literary Translation, Reception, and Transfer vol. 2 (A. Hölter (ed.); N. Bachleitner (ed.)), 2020

The launching of Google Books and of Google Earth in 2004 could be considered a symbolic landmark for building memories. In this context, we consider that digital literatures are a very useful workbench for exploring the consequences of global digital circulation as a factual process but also as an imaginary storytelling. Literatures born digital can show how rituals of reading, formulas of production, and narratives are being modified in the twenty-first century. This article traverses a very large and diverse domain: digital literatures circulating in Spanish all over the world, not just those created in Spanish-speaking countries. The starting point is Ciberia, a repository of digital literature in Spanish, but other digital collections such as LitElat, IloveE-Poetry, Hermeneia, ELMCIP, and ELO are also covered. The authors use a post-Bourdieu methodology to study circulating digital literatures in Spanish as an emerging and dynamic field. By doing so, they show how these literatures give birth to new communities of reader-writers, reading differently and perhaps announcing how readers from the new generation are going to read.

2017

The library exhibition No Legacy || Literatura Electrónica at the University of California, Berkeley (March-September 2016) showcases eighteen works of electronic literature in Spanish, Portuguese, Catalan, and English, along with rare print works from Latin America, Spain, and Portugal. To address the unique challenges of exhibiting vintage interactive digital works on this scale in the century-old Doe Library, we collaborated with a team including members from ten campus units, with broad national and international support. In this poster we will illustrate how we forged new communities across the digital humanities to install an exhibit that bridges print and digital literary histories. Location Location Rotunda / Garden of the Sea

IRPS Archives, 2019

In order to update and deepen the theoretical discussions about Digital Heritage, the authors initiated a survey of the most recent technologies that improves the documentation of architectural buildings and sites. We intend to implement a digital workflow on the studies of buildings and sites that have a potential of protection in the Fluminense lowland of Rio de Janeiro, Brazil. This is part of the activities of the conservation education at bachelor level in Architecture and Urbanism, and the course of the Postgraduate Program on heritage conservation of Universidade Federal Rural do Rio de Janeiro (UFRRJ). The main objective of the current scientific research is the identification of Brazilian researchers and the subjects that have been studied in the last five years in order to make a theoretical review through the systematization of topics, thematic axis, terms, concepts regarding the application of information and communication technologies (ICT) in the heritage documentation. We carried out a qualitative-quantitative mapping of the scientific production of twelve scientific events having occurred in Brazil and Latin America between 2013 and 2018. We detected 156 Brazilian researchers from all regions of the country that had researched about Digital heritage. The mapping of themes was compared to keywords index of CIPA-ICOMOS Symposium 2017 in order to identify points of contact and lack of studies in Brazil for planning the future research. The research group seek ways for better integration between national researchers, ways to get theoretical content up-to-date and to adopt more accurate documentation practices at undergraduate and postgraduate disciplines.

Medievalis, 2018

The Traicitié de la forme et devis comme on fait les tournois (Paris, BnF ms. Français 2695) written around 1460 by the Duke René D’Anjou (1409 -1480) is noteworthy for synthesizing in a single work practices from princely court culture aristocracy of Late Middle Ages, focusing on tournaments and, moreover, an originality of combining textual and iconographic material to convey a message intended by the author. Regardless of its particularities, there are a few studies about this treatise since scholars have been considering it an irrelevant textual material. In this paper, I will demonstrate the importance of revisiting a manuscript to provide a corrected historical source for future analysis. Concurrently, I shall exhibit the possibilities and limitations of expanding the research for medieval studies field in Brazil working with digital content.

2020

This paper presents the BDCamões Collection of Portuguese Literary Documents, a new corpus of literary texts written in Portuguese that in its inaugural version includes close to 4 million words from over 200 complete documents from 83 authors in 14 genres, covering a time span from the 16th to the 21st century, and adhering to different orthographic conventions. Many of the texts in the corpus have also been automatically parsed with state-of-the-art language processing tools, forming the BDCamões Treebank subcorpus. This set of characteristics makes of BDCamões an invaluable resource for research in language technology (e.g. authorship detection, genre classification, etc.) and in language science and digital humanities (e.g. comparative literature, diachronic linguistics, etc.).

In this article, we present the results of thorough research that encompasses these two collections [Casa Fernando Pessoa (CFP) and Biblioteca Nacional de Portugal (BNP)] as well as a third, which consists of books and magazines that belong to Pessoa’s relatives and that have been appearing at a Lisbon auction house since October 2007. Our work entails (1) cataloguing all dust jackets in Pessoa’s literary estate now in the BNP and the small collection owned by his niece and heir, Manuela Nogueira; (2) determining whether they belong or not to books in Pessoa’s private library (see annexes I and II) and (3) checking if the annotations on the dust jackets are in any way connected with the book contents or not.

2017

In this article, I examine the official blogs of the Amores Expressos project from Brazilian publishing house, Companhia das Letras. In doing so, I argue that these webpages provide a digital glimpse into the project's evolution and some of its shortcomings. At the same time, these author-curated pages form part of the digital genealogy of Brazilian cultural production during its critical phase of internationalization in the onset of the 21st century. As contemporary Latin American literature becomes ever more digitally embedded, it is imperative that we examine the web as a space for the creation, dissemination, and reproduction of texts. Turning to the web proves vital as we push into an era in which online writing is not only commonplace but increasingly the standard. At the same time, like any space, the web must be visited in order for it to be maintained, with digital ruins (abandoned websites) a staple of the twenty-first century. Rather than characterizing the web as ephemeral, web archiving tools remind us that virtual realms are more permanent than meets the eye. Digital archives are abundant across the web, including the vast repository of cached sites on Archive.org, where scholars gain insight into the historical documents of the writable web, including archived literary web pages. In this article, I examine the official blogs of the Amores Expressos project from Brazilian publishing house, Companhia das Letras. In doing so, I argue that these webpages provide a digital glimpse into the project's evolution and some of its shortcomings. At the same time, these author-curated pages form part of the digital genealogy of Brazilian cultural production during its critical phase of internationalization in the onset of the 21st century. RESUMO: Neste artigo, eu examino blogs oficiais do projeto " Amores Expressos " , publicados pela editora brasileira Companhia das Letras. Sendo assim, sugiro que essas webpages promovem um vislumbre digital na evolução do projeto e algumas delas demonstram-se deficientes pra tal. Ao mesmo tempo, é importante destacar que o autor e curador da página " Amores Expressos " integra a genealogia digital de produção cultural brasileira durante uma fase crítica de internacionalização no início do século 21.

Romance Quarterly, 2016

This special issue of Romance Quarterly offers its readers a glimpse of the literary production by contemporary Brazilian writers in the last thirty years, with a special focus on narrative fiction. Additionally, readers will find here insightful discussions of questions regarding (self-) representation in literature and of issues affecting the publication and distribution of Brazilian authors and their works. The delimitation of what constitutes contemporary literature is somewhat arbitrary, and some scholars may understand the term to describe all literature written since the end of the Second World War, while others may opt for narrower defining parameters. For others still, contemporary literature may simply mean "the literature of our time, of the present" (Gupta 2)-notwithstanding the permanence and contemporary outlook we find in the works of timeless writers such as our own Machado de Assis, among others. In determining the focus of this issue, I have considered some key political, social, and cultural developments as markers to delimit the body of works to be discussed in these essays. The opening political event is the 1964 military coup d'état that inaugurated twenty-one years of a dictatorship in Brazil, a period that has drastically impacted all aspects of Brazilian society and continues to have repercussions in the country. The fact that those events are still addressed in our literature today attests to their impact in the life stories of so many Brazilians and in the history of our nation. On the other hand, considering the cultural and historical developments of the past thirty years in Brazil, we have witnessed the country's return to a democratic state and have seen it suffer through years of hyperinflation and drastic economic measures in the late 1980s and early 1990s-leading a considerable number of Brazilians to emigrate from the country in search of better living conditions-and later its emergence as a leader in hemispheric politics and a strong player in the world economy, only to see it face new political and economic crises in the last several years. These developments have been formally and thematically reflected in literature and other arts, specifically in the literary production of the late 1960s through the current decade of the twenty-first century. 1 Another development, this one of global dimensions, has been the dissemination and availability of new information and communication technologies, a process that began some thirty years ago and that has profoundly changed our perception of reality. Furthermore, these new technologies have altered how we access, produce, and share information and cultural production. It has also led to a relative democratization of knowledge and the circulation of literature and other artistic endeavors, allowing writers and artists to disseminate their works without the need of an intermediary-that is, an editor, a publisher, or a bookstore. In other words, the new information and communication technologies have intervened in an exchange between producers and consumers of culture that many Brazilian writers and intellectuals believe favors a small, select group of names, and commercial profit over literary quality and cultural diversity. 2 This is certainly not a new phenomenon, but one that has particularly affected writers and artists from minority groups, from Lima Barreto (1881-1922) at the beginning of the twentieth century to the Afro-Brazilian writers who in the late 1970s initiated the publication of Cadernos negros as an alternative to the mainstream publishing venues. What has changed, however, is that today the Internet, blogs, and various social media more easily allow for self-publication and for the expression of more diverse voices and perspectives.

Journal of Writing in Creative Practice (JWCP), 2011

Bouchardon, S. (2011). « Digital Literature and the Digital », Journal of Writing in Creative Practice (JWCP), volume 4 numéro 1, juin 2011, Londres : Intellect Books, 65-78. ---------- In this paper, the approach to the Digital is based on the distinction between three levels: a theoretical level, an applicative level and an interpretative level. Now digital literary works play on the tensions between the three levels and allow these tensions to be highlighted. Studying the conjunction of the Digital and of literary creation – by analysing digital literary works – thus proves to be relevant. Looking into the specific properties of the Digital can throw light on the potentialities of digital literature; in the same way, digital literature can act as a revealer for the Digital.

Neohelicon, 2009

This article intends to discuss an example of contemporary digital literary creation, based on anthropophagy as a cultural mechanism. Oswald de Andrade, one of the leaders of Brazilian modernism, published his Anthropophagic Manifesto in 1928, where he argued that ''what is not mine interests me''. In fact, translated into our contemporary culture, this Manifesto could explain some issues of Brazil's intellectual and cultural environment: the ''only what is not mine interests me'' could be complementarily read as ''what is mine does not interest me''; the anthropophagus would disdain that which is his own and ceaselessly search for the references to the Other. That attitude would be important to understand not only cultural processes, but it could also describe some strategies of contemporary digital literary creations, as Amor de Clarice, created by the Portuguese artist and intellectual Rui Torrres. ''Só me interessa o que não é meu. Lei do homem. Lei do antropófago.'' Oswald de Andrade, Manifesto Antropo´fago «… chacun appelle barbarie, ce qui n'est pas de son usage.» Michel de Montaigne, Les Essais Common places? At times it is impossible not to return to them. The problem would be to stay restricted to them, not advancing in the comprehension of the problems that they point to, and the way in which they appear in the present time. Just like this anthropophagic vision of Brazilian culture, less and less regarded in our contemporary intellectual context, yet still utilized in other countries to characterize our artistic production.