How can literary archives adapt to the challenges of the future? Literary archives are per se international because their subject is international. Literature does not end at the borders of its country of origin or its language. Hence, literary archives hold material that is not limited to a country or a language, although one country and language is usually dominant. It might even be the case that an archive has the official task of preserving the literary heritage of a specific territory and is funded for this purpose. How can we conceptualize literary archives in their regional and global frameworks and develop them further? To what extent does digitization foster international cooperation within and beyond the archives and how can we make it more fruitful? How can archives meet the interests of the literary public and of researchers? With contributions by: Stephen Enniss, Lavinia Frey, Jeang-Yean Goak, Ben Hutchinson, David D. Kim, Stefan Litt, B. Venkat Mani, Nelson Mlambo, Sebastian Möring, Sandra Richter, Fred Studemann, Meike G. Werner, Katja Wiesbrock Donovan Literatur endet nicht an den Grenzen ihres Herkunftslandes oder ihrer Sprache, Literaturarchive verfügen also über Material, das weder auf ein Land noch auf eine Sprache beschränkt ist. Internationale Forscherinnen und Forscher fragen, wie Literaturarchive in digitalen Zeiten in ihrem regionalen und globalen Rahmen konzeptualisiert und weiter entwickelt werden können.

Literary archives differ from most other types of archival papers in that their locations are more diverse and difficult to predict. The essays collected in this book derive from the recent work of the Diasporic Literary Archives Network, whose focus on diaspora provides a philosophical framework which gives a highly original set of points of reference for the study of literary archives, including concepts such as the natural home, the appropriate location, exile, dissidence, fugitive existence, cultural hegemony, patrimony, heritage, and economic migration.

Toward a Cultural Archive of la Movida revisits the cultural and social milieu in which laMovida, an explosion of artistic production in the late 1970s and early 1980s, was articulated discursively, aesthetically, socially, and politically. We connect this experience with a broader national and international context that takes it beyond the city of Madrid and outside the borders of Spain. This collection of essays links the political and social undertakings of this cultural period with youth movements in Spain and other international counter-cultural or underground movements. Moving away from biographical experiences or the identification of further participants and works that belong to laMovida, the articles collected in this volume situate this movement within the political and social development of post-Franco Spain. Finally, it also offers a reading of recent politically motivated recoveries of this cultural phenomenon through exhibitions, state sponsored documentaries, musicals, or tourist itineraries. The perception of Spain as representative of a successful dual transition from dictatorship to democracy and free market capitalism created a “Spanish model” that has been emulated in countries like Portugal, Argentina, Chile and Hungary, all formerly ruled by totalitarian regimes. While social scientists study the promises, contradictions and failures of the Spanish Transición—especially on issues of memory, repression, and (the lack of) reconciliation —our approach from the humanities offers another vantage point to a wider discussion of an unfinished chapter in recent Spanish history by focusing on laMovida as the “cultural archive” whose cultural transitions parallel the political and economic ones. The transgressive, urban nature of this movement demonstrated an overt desire, especially among Spanish youth, to reach onto a global arena emulating the punk and new wave aesthetic of such cities as London, New York, Paris, and Berlin. Art, design, film, music, fashion during this period helped to forge a sense of a modern urban identity in Spain that also reflected the tensions between modernity and tradition, global forces and local values, international mass media technology and regional customs.

Despite the importance of archives to the profession of history, there is very little written about actual encounters with them—about the effect that the researcher’s race, gender, or class may have on her experience within them or about the impact that archival surveillance, architecture, or bureaucracy might have on the histories that are ultimately written. This provocative collection initiates a vital conversation about how archives around the world are constructed, policed, manipulated, and experienced. It challenges the claims to objectivity associated with the traditional archive by telling stories that illuminate its power to shape the narratives that are “found” there. Archive Stories brings together ethnographies of the archival world, most of which are written by historians. Some contributors recount their own experiences. One offers a moving reflection on how the relative wealth and prestige of Western researchers can gain them entry to collections such as Uzbekistan’s newly formed Central State Archive, which severely limits the access of Uzbek researchers. Others explore the genealogies of specific archives, from one of the most influential archival institutions in the modern West, the Archives nationales in Paris, to the significant archives of the Bakunin family in Russia, which were saved largely through the efforts of one family member. Still others explore the impact of current events on the analysis of particular archives. A contributor tells of researching the 1976 Soweto riots in the politically charged atmosphere of the early 1990s, just as apartheid in South Africa was coming to an end. A number of the essays question what counts as an archive—and what counts as history—as they consider oral histories, cyberspace, fiction, and plans for streets and buildings that were never built, for histories that never materialized. Contributors. Tony Ballantyne, Marilyn Booth, Antoinette Burton, Ann Curthoys, Peter Fritzsche, Durba Ghosh, Laura Mayhall, Jennifer S. Milligan, Kathryn J. Oberdeck, Adele Perry, Helena Pohlandt-McCormick, John Randolph, Craig Robertson, Horacio N. Roque Ramírez, Jeff Sahadeo, Reneé Sentilles

Written in Soviet Moscow in the 1920s—but considered too subversive even to show to a publisher—the seven tales included here attest to Sigizmund Krzhizhanovsky’s boundless imagination, black humor, and breathtaking irony: a man loses his way in the vast black waste of his own small room; the Eiffel Tower runs amok; a kind soul dreams of selling “everything you need for suicide”; an absentminded passenger boards the wrong train, winding up in a place where night is day, nightmares are the reality, and the backs of all facts have been broken; a man out looking for work comes across a line for logic but doesn’t join it as there’s no guarantee the logic will last; a sociable corpse misses his own funeral; an inventor gets a glimpse of the far-from-radiant communist future.

The Role of Place in Literature is a groundbreaking study exploring the use of metaphors and images of place in literature. Lutwack takes a dynamic view of the relationship between place and the action or thought in a work. Drawing comparisons over a wide range of works, principally American and British literature of the nineteenth and twentieth centuries, he illustrates how writers have charged different environments with symbolic and psychological meaning.