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If web 2.0 is a place of participatory culture, user-generated content, interwoven and dynamic applications, and overall ease-of-use for the end-user, then literary criticism 2.0 must adapt. This cluster suggests…

When the organizers of this cluster asked us “how have paraliterary genres reframed ‘the literary,'” it was hard not to hear echoes of other paras: paramilitaries, -medics, -legals. That the…

On social media, there’s always something new to argue about. This January 13th, that temporary object of controversy — designed to infuriate and then be forgotten — was an advertisement for men’s…

Given the rise of post-press literature and the continued creation of literary works in what Simone Murray has called the “digital literary sphere,” our seminar “explore[d] the transformative effects of…

The most widely read poets today share their work on Instagram, where they reach huge audiences. Rupi Kaur, perhaps the most famous Insta-poet, has 3.6 million followers as I write this….

Margo Howard may not be a household name, but that’s because she comes from advice-column royalty. Advice columns are the realm of pseudonyms. Daughter of the original “Ann Landers” and…

For scholars working on African literature, the challenge in describing the “contemporary” moment very much lies in how to make sense of the impact that new digital technologies have had…

When scholars in the humanities try to imagine new scholarly practices — new forms of collaboration, new metrics of evaluation, and new modes of knowledge production — we are quick…

Web 2.0 is changing the literary. We all know this, and we have emergent fields of study based upon this knowledge: electronic literature, game studies, cultural analytics, digital humanities. Yet,…

This cluster contemplates two core terms — contemporary literature and participatory culture — as they are influenced by web 2.0 platforms where they have flourished on a scale hitherto unseen…