Contenu du sommaire : Écrire, lire, diffuser, créer ensemble des espaces littéraires sur des espaces immatériels : interactions et coopérations

The aim is to write a history of writing platforms on the web between 1993 and 2023; this history takes into account both the generational appropriations of online writing, the evolution of digital web formats, as well as the struggle of platforms in the restricted field of digital writing. The first generation platforms, in the 1990s, were created by webmasters who mastered the writing of code, at a time when the publication of content on the web depended on the technical skills of individuals; the second generation platforms, on the other hand, came into being in the early 2000s, at a time when software hosts provided turnkey solutions so that anyone could open a site: this was the era of the literary forosphere. From the 2010s on, oligopolistic players began to turn the web into a commercial and highly centralized space: third-generation platforms did not escape the movement, as a strong concentration phenomenon led to Wattpad, a Canadian company worth several hundred million dollars.

The article comes back to the exploratory survey, which gave rise to a collective online exhibition, conducted with a dozen contemporary writers about their relationship with their screen-desk, a particular virtual environment that extends the work surface of the office, multiplying its spatial possibilities and connectivity. Aiming to show some of the digital backstage of creation and to highlight the original uses that result from it, the project sought to better understand the relationship that binds writers to this fundamentally hybrid, multistrate, and still relatively unquestioned interface. The contribution looks back at the development of the project, the way it was structured and some of the results that could be drawn from it..

Social networks and digital platforms are populated by a constellation of profiles: while some match their identity with the one declared civilly by their author, others choose an assumed identity. This article takes this observation as a starting point to study the techno-semiotic mechanisms of an emerging literary genre: the “fictional profile”, a narrative carried by a digital identity portrayed as literary by its author and/or felt as such by its readers. To do this, we analyzed a corpus of fictional profiles (Rachel Charlus, Aimée Rolland, Gabriela Manzoni, Anna-Maria Wegekreuz and Ivan Arcelov) through the prism of our “interpretative filters”, a notion at the heart of the “social semiotics” approach that we are applying here to our situated reading of these profile works.

This article focuses about influencers in the book sphere who are investing social networks, notably TikTok, and called BookTokers. Followed by thousands of members, we do not really know who they are. Are they the new Bernard Pivot? What cooperations and interactions do they put in place with traditional book authors ? Would it be that the vitual space of TikTok, originally shaped to deliver short videos, could become an essential platform for literary production?

This paper focuses on the writing process that led authors writing on Wattpad, Laura Nsafou, Nine Gorman and Marie Alhinho, to be published by a publishing house. With a community of readers following them on social networks, these three authors, who had already published books, interacted with their readers in various and sometimes unprecedented ways, via social networks, to give substance to their fiction. The article shows how the literary fact becomes, via the platforms, an object of reconfigured social communication which shakes the auctorial and lectorial practices.

In January 2014, Actua
BD published a survey of “édinautes”, investors in participatory publishing. Enlightened amateurs, often collectors, they participate on several platforms – Sandawe, Ulule, KissKissBankBank, MyMajorCompany, Kickstarter – and wish through their contributions to support projects which without them could not see the light of day: they thus initiate new interactions between the author, the publisher and the reader. These édinautes particularly appreciate the dialogue with the author that the funding establishes and the often exclusive rewards that are precious for these collectors. In 2023, what are the contours of crowdfunding via digital platforms in comics? This contribution proposes to make a progress report of these platforms, highlighting the changes they entail by redistributing the cards between the actors.

During the first lockdown due to the Covid-19 pandemic (March-May 2020), professional and amateur writers invested in classic literary genres, such as letters, diaries, poems, to tell this experience, both individual and collective one. These productions show that the literary genres have been adapted to the editorial devices used, by reorganizing writing according to the constraints and potentialities of the editorial enunciation specific to these digital devices.But how did the “writers” seize these devices to write, publish and share their confined writings? And according to what modalities of editorial appropriation? Two kinds of text will be explored to answer to these questions: a corpus of confined graphic diaries illustrating a modality of appropriation by the editorial device, and a corpus of confined poetry reflecting a modality of appropriation by the editorial genre.

While aiming at building a bridge between narratology and reception studies, this article hypothesizes that there is a link between the reception models built by two novels, S. (Doug Dorst and J.J. Abrams) and House of Leaves (Mark Z. Danielewski) and the fandoms related to those novels. This article offers to study digital writing practices at work among those fandoms as a continuation of the investigation initiated in the novels, enlightening the conditions as well as the limitations of this pursuit of the investigation. On a larger scale, we will try to see how a structuralist study of literary works may shed light on their readers' practices.

The aim of this article is to question the possibility of intersemiotic translation of a literary style through the analysis of a corpus of games from a series of game jams dedicated to the Italian author Italo Calvino. Through the study of each game created during this event, we explore the modalities by which the author's stylistic elements are translated into the videogame grammar. The aim of this study is to ask how game designers appropriate this author and, consequently, how the ludoformation of an author's work takes place when the themes that characterize him are less relevant than the style that identifies him.

In this article we propose to analyse the Wu Ming Foundation, a federation of collectives and collaborative literary and artistic projects born in the web, which enriches and fleshes out the narrative activity of the Italian authors' collective Wu Ming. Active for over 20 years in Italy, this collective represents a real upheaval in literary practices. The negation of the figure of the author, the commitment to promote a freer dissemination of works through the copyleft clause, the extension of literary practice to a non-specialist public as well as to other artistic fields, and the intense use of the computer tool as a means of community building are the various factors that illustrate the original, daring and innovative character of this group of artists/writers. Here we will present some of the projects of this federation with the aim of highlighting the possibilities and impacts of the use of new technologies in the redefinition of the roles of author and reader and in the establishment of a new cultural sociability.

The Writever creative challenge is a permanent collective writing invitation on the microblogging platform, Twitter. Each day, a word prompts people to write a 280 characters science fiction, fantasy or fantastic story. Our article proposes an ethnography of this literary digital space, explores the way the “everwriters” take ownership of the proposition, as a self-training practice, and unveil their individual strategies to face the constraints. Our ethnographic study also aims to draw the landscape of the collective dimension of this writing challenge, which includes the social aspect of Twitter, but making room for the discrete and constant presence of bots, automated accounts, in charge of interactingwith the posts.