Literary Heritage

This article discusses language documentation for Trinidadian French Creole (Patois), an endangered heritage language, especially through textual support, from c.1805 to texts gathered during the present day. 

From the Introduction (xvi to xvii):

Jo-Anne Ferreira discusses the cultural heritage and
revitalization issues of Trinidadian French Creole (TFC) or Patois. She examines and establishes a very useful update of a minority and marginalized, even endangered language in the Caribbean that, while thriving elsewhere, is very limited today in Trinidad. The chapter raises pertinent questions about language planning, the effects and benefits of internet technology on language development and maintenance, as well as the sociocultural importance of TFC. The author’s purpose is twofold: to make TFC literary culture available to a series of wider audiences and to formally support informal language preservation efforts currently under way.

pp. 111-125

Dwellings inhabited by writers were the first house museums founded in the UK, and writers still dominate the vocations of culture heroes whose houses continue to be museumised today. This paper contextualises house museums in museology and heritage, reviewing the professionalising strategies and rhetoric of the genre. It surveys  commentators' ideas about writers' house museums, mainly the work of journalists and scholars, influential in shaping public ideas about literary houses. The experience of non-specialist visitors is considered in the light of contemporary cultural heritage tourism. These sources throw light on the future of writers' house museums.

Potentials of scientific research in general are obviously subject to changes in accordance with current digital information and communication environment, which is capable to give new, advanced performances, or those essentially different from the traditional ones, even in the domain of humanities, including literary studies as well. In this connection, developing a digital heritage repository, as a way of organizing and composing objects of heritage in selected thematic entities, is demanding, but also inspiring possibility in the case of literary heritage as well. The aim of the proposed paper is to examine potentials and advantages of developing a digital repository of Meša Selimović’s literary work. The focused problem is going to be approached in a holistic manner, which means in terms of its practical and cultural values, but also in terms of its feasibility. The authors of the proposed paper are taking interdisciplinary methodological sides, which is caused by the authors’ d...

Literature, films and television series create imaginary worlds, portray landscapes, expand knowledge about the world, nurture emotions and inspire people to travel. This special issue focuses on the phenomenon of people travelling to places associated with a novel, poem, writer, television series or film. These tourism niches-literary tourism and film-induced tourism-are expressions of media tourism, and over the past few decades, they have been significant in developing new destinations and experiences.

The study examines the significance of the document, as well as its functions in the reference bibliographic, informational, and cultural-historical significance. The origin of the term "document" is traced, as well as the types of documents and their meaning and main functions for the benefit of the society and the government of the country. The second part of the study examines the problems of modern archiving in Bulgaria. It presents the guidelines in which the archival activity should be developed, such as the need for qualified personnel to accelerate the digitization processes.

Conference name: 14th annual International Conference of Education, Research and Innovation/2021, p. 2404-2410;
ISBN: 978-84-09-34549-6;
ISSN: 2340-1095;
doi: 10.21125/iceri.2021.0601

Работа посвящена сохранившейся в архиве Буниных рукописной газете «Вести из Пасси» (Leeds Russian Archive), которую В.Н. Бунина выпускала весной 1940 г., приехав из Грасса в Париж. В статье показывается, что газета В.Н. Буниной была не столько настоящим периодическим изданием, сколько выбранной автором формой эпистолярного диалога с оставшимся на юге Франции мужем и другими жителями виллы Jeannette.
В.Н. Бунина и ранее предпринимала попытки обратить на себя внимание мужа, прибегая для этого к различным способам, в частности, посылала ему вместо писем листы из собственного дневника. Форма газеты преследовала отчасти ту же цель. Ответы И.А. Бунина в обычных письмах на содержащиеся в рукописной газете сведения подтверждают такое заключение. К статье прилагаются все выпуски «Вестей из Пасси» с реальным комментарием. Их тексты должны войти в готовящуюся для тома серии «Литературное наследство» публикацию переписки И.А. Бунина с В.Н. Буниной (в основной корпус по хронологии или, по крайней мере, в приложение). = The paper is dedicated to the survived V.N. Bunina’s handwritten newspaper “Vesty iz Passy” (“News of Passy”) (Leeds Russian Archive) which was released in the spring of 1940, after Vera Bunina had moved from Grasse to Paris. It is shown that the newspaper was not a periodical as such; rather it was chosen by V.N. Bunina epistolary form of a dialogue with her husband and other residents of the Jeannette villa, who remained in the south of France. Before that Vera Bunina used to make attempts to attract her husband’s attention in various ways, for example by sending him pages from her diary instead of letters. The newspaper to a certain extent pursued the same goal. This hypothesis is confirmed by I.A. Bunin’s letters with the response to the information from the newspaper. The commented complete set of the newspaper issues attached to the article. The texts are to be published in the volume of I.A. and V.N. Bunin’s letters which is being prepared for the series Literaturnoe Nasledstvo (Literary Heritage) and will be either a part of the main corpus of the correspondence or will be placed in the Appendix.

This paper focuses on Creative Cities of Literature of United Nations Educational, Scientific and Cultural Organization (UNESCO) and analyses how the policies and actions of the cities in this network can contribute to their cultural environment. It builds a mixed theoretical framework that looks at UNESCO’s Creative Cities Network, the Educating Cities Network and the European Heritage Strategy for the 21st Century. Then, to establish a set of recommendations that assesses the management of literary heritage in creative cities of literature, we have carried out a two-phase content analysis of the participating cities’ monitoring reports. In the first phase, the analysis is found on the specific criteria of cities of literature that are already part of UNESCO’s Creative Cities Network. In the second phase, the analysis is based on the list of challenges and recommendations defined by the European Heritage Strategy for the 21st century. This analysis shows that the City of Literature programme as a whole is a database of best practices for developing an urban literary environment. The article presents a set of actions to enhance the cultural environment of a literary city by focusing on its use of its literary heritage.

"DAILY PIONEER, New Delhi, 26-06-1996
CRUMBLING BRICKS OF LITERARY GRANDEUR

Katha Samrat Premchand’s residence in Lamhi Village has fallen a prey to criminal neglect. Shamsul Islam visits the ruins of a historic site.

Hum kono Premchand ke nahin janit. Ehan savere se sanjha tak chillum piye waley auro ganda ganda kam karat waley padal raha na. E ghar purey gaon ka kuda khana ban gail ha. Hum apney bachhan ke nahalwawat hai ta kaun pap karat hai?” (I do not know any Premchan. Here from morning till night the drug addicts and people involved in dirty deeds lie around. It is a house which has become a dustbin for the whole village. If I am giving bath to my children, is it a crime?)

Thus spoke Phulpatti while washing clothes and giving bath to her children on a hand-pump standing in the midst of the ruins of a house in the village Lamhi near Varanasi, where the greatest writer of Urdu-Hindi literature was born in the year 1880, wrote most of his works and died in 1936.

The functioning of this historic site as a community dustbin is a stark testimony to the insensitivity and ungratefulness of a nation to one of its writers whose fame went beyond the seven seas and who has always been acclaimed as the greatest narrator of the sorrows, joys and aspirations of the Indian peasantry.

Premchand was a worthy contemporary of Maxim Gorky and Lu Xun—incidentally all three died in the same year, 1936. It is really heart-breaking to see the crumbling state of the house where once the Katha Samrat (master story-teller) lived and created works like Soz-e-Watan, Godan, Ghaban, Nirmala, Shatranj ke Khilari, Seva Sadan, Kafan and characters like Hori, Gobar, Dhaniya, Pt. Datadin, Mote Ram Shastri and Surdas who are as real and living today as they were in the first half of this century.

Premchand was bron on July 1, 1980 in Lamhi as Dhanpat Rai Srivastav in a family of Kayasths. His initial education took place in the village madrasa and his first piece of writing was a biography of Oliver Cromwell (1903). But it was the publication of his collection of short stories Soz-e-Watan in Urdu (1909) which made him a household name in northern India. Not everyone knows that till Soz-E-Watan in Urdu (1909) which made him a household name in northern India. Not everyone knows that till Soz-e-Watan Premchand was using Nawab Rai as his penname.

Soz-e-Watan was full of nationalistic fervour and was written against the backdrop of the rising tide of revolutionary terrorist movement throughout India which reached a high-water mark with the hanging of Khudiram Bose by the British rulers.

The popularity of the Soz-e-Watan alarmed the British administration and soon they were able to find out through their intelligence network that Nawab Rai was non other than Dhanpat Rai posted in the Department of Education at Mahoba. The English collector of Mahoba called him for an explanation.

Premchand wrote about the incident in his memoirs: “Saheb asked about the theme of each story. At the end, he was very angry and said that my stories were filled with sedition… were one-sided and had insulted the British Government. He also passed the orders that I should hand over all the copies of Soz-e-Watan to the Government and should not pen anything without his consent.” To cease to be a writer was not acceptable to Premchand. Since it was Nawab Rai who was prohibited from writing, he chose ‘Premchand’ as the other penname and started writing in Hindi as well. It is as Premchand that he has been immortalized.

Premchand was a rebel by nature. He married a child widow, Shivrani, in the year 1906 even though his biradri and family socially boycotted him. He not only wrote against practices like kanyadaan but also refused to practice the same at the time of his daughter’s marriage. He wrote, “Why kanyadaan? Either we give lifeless things as alms or only cow among living things. Is the girl a cow?”

After resigning his Government job he was often hard-up for money but he refused to be a court writer for the British or native rulers. Once when he was offered a post in the War Journal of the British Government, he turned down the offer by saying, “Unfortunately, I do not treat it as a nationalistic act.” In the like manner, he was invited by the Raja of Alwar to be his court Katha Samrat. He declined the offer by saying that by accepting the offer he would not be able to serve the cause of literature.

A fearless and uncompromising writer who fought against all that was feudal, who relentlessly exposed the British and native tyrannical regimes, who upheld the causes of the downtrodden against heavy odds, who symbolized the freedom struggle and who was often referred to as the Kalam ka Sipahi (solider with a pen), did he not deserve better treatment from posterity? Premchand’s namesake who worked as pressman in the printing press run by Munshiji, for more than ten years, holds Premchand’s sons Amrit Rai and Sripat Rai responsible for such a shameful scenario “Munsiji’s sons earned crores of rupees by selling his works throughout the world but never bothered to visit Lamhi or take care of this historic home.”

Dr. Ram Narain Shukl of BHU holds literary organizations and the Government responsible for such an unfortunate situation. “There are more than ten big literary orgainsations which lay claim to his heritage. They shout from house-tops that they are his real inheritors, but all that is meant for publicity or pocketing government funds. They don’t visit Lamhi even for ceremonial purposes. About five years back, the sons of Premchand donated this house to the Government for constructing a suitable memorial for the literary doyen. A contractor even started some repair work but one fine morning he simply disappeared with the doors and almirahs of the house, as no payments were made to him.”

Dr. Shukl laments the fact that besides the family, Government, and literary organizations which failed in their duties, there are no public spirited people around to save Premchand’s house for the coming generations. “In the case of Mahadevi Verma, few local poets, and writers joined hands to turn her house into Mahadevi Sahitya Sangrahalaya at Ramgarh after her death. They did not wait for the Government of some literary establishment,” says Dr. Shukl.

Of course, one can have solace from the fact that it is not the memories of only Premchand which are being washed off. Mirza Ghalib’s house in Ballimaran, Delhi and great humanist poet Surya Kant Tripathi Nirala’s house at Mahishadal in West Bengal have already been lost to junk dealers and commercial appetite.

[The print version carried 4 photographs corroborating the shocking state of Munshi Premchand’s house in Lamhi village snapped by the author of this piece. It is being reproduced here with thanks to Daily Pioneer, New Delhi.]"

This work follows the literary geography of the Catalan writer Mercè Rodoreda through the city of Geneva during the years she lived there from 1954 to 1979 to the intermittent last seven years. From his work, especially the narration "Paralysis", can be fixed on the map of Geneva life and work of Rodoreda, the experienced places and places described in his literary production. Finally it is a Rodoreda literary route to Geneva.

Ce que l’espace public fait au canon littéraire - peut-on identifier un canon littéraire républicain ?

Cette communication prononcée dans le cadre du séminaire « De la fabrique du patrimoine littéraire à la fabrique littéraire des patrimoines » interrogeait la mémoire littéraire telle qu’elle se présente dans l’espace public à la lumière de l’actualité commémorative des dernières années, afin de déterminer s’il est possible d’identifier ce que je propose d’appeler un canon littéraire républicain.
Le mouvement de critique mémorielle initié à Charlottesville en 2017 a été suivi d’une remise en question des commémorations publiques, en particulier dans leur rapport à la mémoire de l’esclavage, dans le monde anglophone mais aussi au-delà. En France, la démission de dix membres du Haut comité national aux commémorations, en mars 2018, bien que concernant une autre mémoire conflictuelle, résulte d’une dynamique similaire. La culture des commémorations nationales n’en est cependant pas moins vivante, comme en témoignent entre autres la création de France mémoire (2021) et la publication du recueil Portraits de France (2021).
La place des écrivains dans ces commémorations est remarquable : ils représentent régulièrement autour de 15% des listes commémoratives produites dans le cadre de la politique culturelle gouvernementale, mais aussi parfois jusqu’à 20 ou 30% de répertoires commémoratifs monumentaux aux origines institutionnelles diverses. Qui sont les écrivains commémorés ? S’agit-il de listes tirées du canon littéraire tel que le définissent différentes instances académiques, ou bien l’espace public oriente-t-il la sélection au sein de ce canon et hors de lui ? Existe-t-il une spécificité du canon littéraire représenté dans l’espace public, que l’on pourrait nommer canon littéraire républicain – supposé plus démocratique ? Peut-on en identifier les dynamiques constitutives, après avoir mis en évidence les ensembles ou les individus qui le distinguent du canon défini par les manuels, les anthologies et les concours de la fonction publique ?
Mathilde Labbé,
Université de Nantes (La littérature dans l’espace public : litep.humanum.fr)
dans le cadre du séminaire « De la fabrique du patrimoine littéraire à la fabrique littéraire des patrimoines » (31 mars 2021)

Cette communication prononcée dans le cadre du séminaire « De la fabrique du patrimoine littéraire à la fabrique littéraire des patrimoines » interrogeait la mémoire littéraire telle qu'elle se présente dans l'espace public à la lumière de l'actualité commémorative des dernières années, afin de déterminer s'il est possible d'identifier ce que je propose d'appeler un canon littéraire républicain, en tous les cas un canon littéraire propre à l'espace public. Le mouvement de critique mémorielle initié par les manifestations en faveur du déboulonnage de la statue du General Lee à Charlottesville en 2017 a été suivi d'un d'une remise en question des commémorations publiques, en particulier dans leur rapport à la mémoire de l'esclavage, dans le monde anglophone, mais aussi au-delà. En France, la démission de dix membres du Haut comité national aux commémorations, en mars 2018, bien que concernant une autre mémoire conflictuelle (elle faisait suite à une intervention de la Ministre de la culture pour supprimer la commémoration de Charles Maurras), participe d'une dynamique similaire. La culture commémorative n'en est cependant pas aujourd'hui moins vivante, comme en témoignent entre autres la séquence consacrée à la mémoire de la première guerre mondiale-étendue un peu au-delà de 2018 par la panthéonisation de Maurice Genevoix en novembre 2020-, la création de France mémoire (2021) en lieu et place du défunt Haut comité, et la publication du recueil Portraits de France (2021) destiné à favoriser la diffusion d'une mémoire de la diversité. La place des écrivains dans ces commémorations n'est pas en retrait : ils représentent régulièrement autour de 15% des listes commémoratives produites dans le cadre de la politique culturelle gouvernementale, mais aussi parfois jusqu'à 20 ou 30% de répertoires commémoratifs monumentaux aux origines institutionnelles diverses. Qui sont les écrivains commémorés ? S'agit-il de listes tirées du canon littéraire tel que le définissent différentes instances académiques, ou bien l'espace public oriente-t-il la sélection au sein de ce canon et hors de lui ? Existe-t-il une spécificité du canon littéraire représenté dans l'espace public, que l'on pourrait nommer canon littéraire républicain-supposé plus démocratique ? Peut-on en identifier les dynamiques constitutives, après avoir mis en évidence les ensembles ou les individus qui le distinguent du canon défini par les manuels, les anthologies et les concours de la fonction publique ? La réponse à cette question est nécessairement nuancée, tant les dynamiques de constitution et d'évolution du canon républicain sont diverses et concurrentes. Il est d'ailleurs prudent d'affirmer que cet ensemble, par nature, est constitué de listes canoniques et contre-canoniques. Mathilde Labbé, Université de Nantes (La littérature dans l'espace public : litep.humanum.fr) dans le cadre du séminaire « De la fabrique du patrimoine littéraire à la fabrique littéraire des patrimoines » (31 mars 2021)

The study examines the significance of the document, as well as its functions in the reference bibliographic, informational, and cultural-historical significance. The origin of the term "document" is traced, as well as the types of documents and their meaning and main functions for the benefit of the society and the government of the country. The second part of the study examines the problems of modern archiving in Bulgaria. It presents the guidelines in which the archival activity should be developed, such as the need for qualified personnel to accelerate the digitization processes.

Conference name: 14th annual International Conference of Education, Research and Innovation/2021, p. 2404-2410;
ISBN: 978-84-09-34549-6;
ISSN: 2340-1095;
doi: 10.21125/iceri.2021.0601

This paper focuses on Creative Cities of Literature of United Nations Educational, Scientific and Cultural Organization (UNESCO) and analyses how the policies and actions of the cities in this network can contribute to their cultural environment. It builds a mixed theoretical framework that looks at UNESCO’s Creative Cities Network, the Educating Cities Network and the European Heritage Strategy for the 21st Century. Then, to establish a set of recommendations that assesses the management of literary heritage in creative cities of literature, we have carried out a two-phase content analysis of the participating cities’ monitoring reports. In the first phase, the analysis is found on the specific criteria of cities of literature that are already part of UNESCO’s Creative Cities Network. In the second phase, the analysis is based on the list of challenges and recommendations defined by the European Heritage Strategy for the 21st century. This analysis shows that the City of Literature...

The article is devoted to the analysis of the poetic works by Kassim Bikkulov, the poet and the writer of the early twentieth century in the context of Tatar literature educational traditions. The literary heritage of the writer-educator makes about a dozen realistic stories; short stories, poems and scientific and educational records of informative nature, devoted to natural phenomena and included in the "books for reading". The research object of this article is educational poems aimed at the development of morality among young readers, their engagement to enlightenment, the acquiring of secular knowledge included in the collection of works reprinted for the first time in 100 years (2016). The aim of the work is the study and the introduction of the poems by Kasim Bikkulov to the scientific circulation, which are considered by the authors of this article in the framework of Tatar literature educational traditions, also in a comparative perspective with the works of the famous Tatar poet of the second half of the XIXth century-Miftahutdin Akmullah. We used analytical, comparative, cultural and historical research methods, as well as a hermeneutic approach to the analysis of the works. The novelty and the relevance of the work is explained by a poor study of the writer-educator poetic heritage, a clergyman, whose works were undeservedly forgotten during the years of the totalitarian regime. In the framework of educational poetry, dozens of poems by Kasim Bikkulov were analyzed, they performed the comparative analysis of the works by the author under study with M. Akmulla's poetry. M. Akmulla is the enlightener. The study makes it possible to draw the conclusions that the poetry of the analyzed poet K. Bikkulov, in contrast to his prosaic heritage, which is more considered in terms of critical realism, relates to educational literature.

Cette communication prononcée dans le cadre du séminaire « De la fabrique du patrimoine littéraire à la fabrique littéraire des patrimoines » interrogeait la mémoire littéraire telle qu'elle se présente dans l'espace public à la lumière de l'actualité commémorative des dernières années, afin de déterminer s'il est possible d'identifier ce que je propose d'appeler un canon littéraire républicain, en tous les cas un canon littéraire propre à l'espace public. Le mouvement de critique mémorielle initié par les manifestations en faveur du déboulonnage de la statue du General Lee à Charlottesville en 2017 a été suivi d'un d'une remise en question des commémorations publiques, en particulier dans leur rapport à la mémoire de l'esclavage, dans le monde anglophone, mais aussi au-delà. En France, la démission de dix membres du Haut comité national aux commémorations, en mars 2018, bien que concernant une autre mémoire conflictuelle (elle faisait suite à une intervention de la Ministre de la culture pour supprimer la commémoration de Charles Maurras), participe d'une dynamique similaire. La culture commémorative n'en est cependant pas aujourd'hui moins vivante, comme en témoignent entre autres la séquence consacrée à la mémoire de la première guerre mondiale-étendue un peu au-delà de 2018 par la panthéonisation de Maurice Genevoix en novembre 2020-, la création de France mémoire (2021) en lieu et place du défunt Haut comité, et la publication du recueil Portraits de France (2021) destiné à favoriser la diffusion d'une mémoire de la diversité. La place des écrivains dans ces commémorations n'est pas en retrait : ils représentent régulièrement autour de 15% des listes commémoratives produites dans le cadre de la politique culturelle gouvernementale, mais aussi parfois jusqu'à 20 ou 30% de répertoires commémoratifs monumentaux aux origines institutionnelles diverses. Qui sont les écrivains commémorés ? S'agit-il de listes tirées du canon littéraire tel que le définissent différentes instances académiques, ou bien l'espace public oriente-t-il la sélection au sein de ce canon et hors de lui ? Existe-t-il une spécificité du canon littéraire représenté dans l'espace public, que l'on pourrait nommer canon littéraire républicain-supposé plus démocratique ? Peut-on en identifier les dynamiques constitutives, après avoir mis en évidence les ensembles ou les individus qui le distinguent du canon défini par les manuels, les anthologies et les concours de la fonction publique ? La réponse à cette question est nécessairement nuancée, tant les dynamiques de constitution et d'évolution du canon républicain sont diverses et concurrentes. Il est d'ailleurs prudent d'affirmer que cet ensemble, par nature, est constitué de listes canoniques et contre-canoniques. Mathilde Labbé, Université de Nantes (La littérature dans l'espace public : litep.humanum.fr) dans le cadre du séminaire « De la fabrique du patrimoine littéraire à la fabrique littéraire des patrimoines » (31 mars 2021)

The publication "Memoirs and Letters of Polish Authors from Taken Lands in 19th Century – Role and Place in the Historical Research" is devoted to a historically and literary complex issue. The book publishes 27 scientific articles in Polish language, 8 in Russian language, and 6 in Ukrainian language. The publication consists of four parts. The first part named “Memoirs and Letters of Polish Authors from the Taken Lands in Local and Foreign Archives Collections” carries out the investigation of the individual and collective manuscripts by Polish authors from different neighbouring lands. The second part of the publication entitled “Memoirs and Letters of the 19th Century in Contemporary History Studies” carries out the investigation of a wide range of issues related to the life of the Polish people, their private life and history, culture, literature, politics in the Russian Empire, as well as at the edges of the one. The third part “Polish from the Taken Lands in Siberian exile in the light of the memoirs and letters of the 19th century” of the book aims to describe the letters of the 19th century and the diaries of the Poles that were deported in Siberia. The fourth part named “Memoirs and letters of women of the 19th century” focuses on the autobiographical genres of the personal documents of women from Western Krai – letters, autobiography, memoirs. This book is a perfect example of cooperation between researchers from different countries of history and literature. The problems are solved not only in one way but in several ways (political, social, cultural), and as objectively as possible in many published articles. The one carries out a humanistic mission – it promotes the openness of nations and builds bridges in terms of scientific and cultural cooperation.

... СПб и М.: Т-во Вольф, 1910. Якубайтис. Части речи и типы текстов. Рига, 1981. Chebanov Sergej V. and Martynenko Gregory Y. Text as Real Population in Chuprov Sense. In: Proc. of the Third International Conference on Quantitative Linguistics. Helsinki..- Pp. 220-222. ...

En el marc de la Jornada Joan Barceló, la Càtedra Màrius Torres ha ideat, dissenyat i dirigit l'elaboració d'una exposició sobre el llegat del gran escriptor de Menàrguens que es podrà veure durant la jornada acadèmica que se celebrarà a la Facultat de Lletres de la Universitat de Lleida.

La cristallisation de la littérature dans la mémoire collective et sa circulation dans l'espace public reposent essentiellement sur de grands noms, de grandes oeuvres et forgent une mythologie qui fait l'objet d'une médiation spécifique. C'est ce qui fait de la littérature un patrimoine partagé. Mais comment ce patrimoine se construit-t-il et se diffuse-t-il ? Pendant longtemps, les études littéraires se sont centrées sur l'analyse des oeuvres, et des oeuvres les plus canoniques en particulier. Même les études de réception se consacraient le plus souvent à la façon dont les écrivains étaient reçus par leurs pairs. Ce n'est que plus récemment que la manière dont les oeuvres et leurs auteurs accédaient à la reconnaissance a été interrogée, à travers les notions de légitimation, de sacralisation ou de canonisation. Depuis une dizaine d'années, ces phénomènes et procédés ont été envisagés comme processus de patrimonialisation, qu'il s'agisse de rendre compte de la présence de l'oeuvre hors du livre (Depoux), son adaptation, sa diffusion via des collections de monographies illustrées (Labbé, Martens, Scibiorska), sa mise en scène au sein de maisons d'écrivains (Régnier), ou l'entrée de l'auteur dans les programmes scolaires et dans la statuaire publique (Labbé). La notion de patrimoine, d'abord en usage dans les domaines architectural, naturel et technique, est aujourd'hui régulièrement utilisée dans le domaine des arts et en particulier en littérature, ce qui invite à interroger les dynamiques de patrimonialisation propres à ce champ et à poser la question des instances qui déterminent ce phénomène. En effet, ces dernières semblent à la fois plus nombreuses et moins centrales que les institutions susceptibles de patrimonialiser des ressources naturelles ou des bâtiments situés dans l'espace public, par exemple. Comment la « raison patrimoniale » (Poulot, 2006) se traduit-elle dans le champ littéraire ? Entre consécration et popularisation, la patrimonialisation de la littérature s'effectue par le biais d'un vaste ensemble de discours et d'images, mais aussi à travers la thésaurisation et la sélection explicites qu'opèrent ces institutions diverses à l'attention des générations futures, même lorsqu'elles présentent leurs choix comme un simple enregistrement de ce qui résiste à l'épreuve du temps.

Alors que les politiques patrimoniales engagées au XIXe siècle et relancées sous l’impulsion
d’André Malraux dans les années 1950 ont été suivies d’une diffusion massive, voire d’une
banalisation de la notion de patrimoine elle-même, les études concernant la patrimonialisation
n’ont véritablement pris leur essor que dans les années 1990, peu après la théorisation de la
post-modernité, qui avait mis en évidence le rôle des oeuvres du passé dans la création
contemporaine. À partir des travaux de Dominique Poulot en histoire de l’art, de ceux de Jean
Davallon en sciences de l’information et de la communication, ou de ceux de Nathalie
Heinich en sociologie, par exemple, la notion de patrimonialisation a ainsi été explorée pour
des objets sensiblement distincts de la littérature, repérés notamment en raison de leur
matérialité marquée et des questions du lien entre patrimonialisation et politiques de
conservation. L’histoire de l’art se penche, quant à elle, sur l’évolution de la notion d’« objets
de mémoire » (Debary et Turgeon) en fonction, notamment, de l’idée d’une qualité esthétique
et d’une réception contextuelle, tout en situant dans l’histoire la naissance d’une distinction
entre patrimoine matériel et immatériel (Poulot).
Ce dossier s’emploiera à répondre à ces questions en s’intéressant aux mécanismes qui font de
la littérature et des écrivains des êtres patrimoniaux, ainsi qu’aux modes de diffusion des
oeuvres et des figures littéraires à travers différentes sphères médiatiques.

"Torsimany" is a web site for the preservation, dissemination and study of Catalan literature translations into other languages. Designed and directed by Joan Ramon Veny-Mesquida, it is being carried out in collaboration with teams involving several entities under the supervision of specialists in each linguistic area (currently: Breton, Czech, English, French, Gaelic, German, Greek, Hungarian, Polish, Romanian, Russian, Slovenian and Welsh).