Digital place-poetry and the literary festival

数字地方诗歌与文学节

• 批准号: 2433755
• 金额: --
• 依托单位: Keele University
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2020
• 资助国家: 英国
• 起止时间: 2020 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2433755
• 关键词: Digital; place; poetry; literary; festival

This project - a collaboration between Keele University, Manchester Metropolitan University and Writing West Midlands - will produce a collection of film poems and investigate the potential for film poetry to broaden literary festival audiences. . Writing West Midlands (WWM) is an ideal partner for the project: Keele and Stoke-on-Trent are included in WWM's remit and there is an established relationship between the supervisors and the organisation. Research questions (a) How does digital place-poetry (specifically, film poems) differ from place-poetry on the page in terms of writing and reading processes?(b) How can digital film poetry enhance audience engagement in Writings West Midlands' Birmingham Literature Festival and, by extension, other literary festivals?(c) What are the potentials for digital film poetry to foster accessibility to Festival content for under-represented audiences, thereby contributing to Writing West Midlands' Creative Case for Diversity? ContextIn Spring 2019, Arts Council England launched a Digital Culture Network to increase digital capacity and 'the digital maturity' of arts and culture organisations.1 This is part of a broader, government-led initiative to improve digital capability in England's arts sector. Whilst there is much debate around the 'emerging field' (Thompson Klein, 2015) of digital humanities, there is little consensus as to what the latter comprise, with Burdick et al. suggesting that 'digital Humanities is less a unified field than an array of convergent practices' (2012: SG2). Whilst digital humanities' capacity to increase accessibility to knowledge is recognised (see, e.g. Terras 2015), much more is required to improve inclusivity in a field which, to date, has been dominated bytext-based scholarship written in English (Mahoney 2018). As Thompson Klein cautions, digital humanities development and investment is uneven across the globe (2015: 3-4), indicating the continued existence of the kinds of 'digital divide[s]' identified by Kleinman in a piece on college students' access to high-speed internet (2001: 51). This project aims to (i) create new digital film poems featuring text, images and sound by a single author and (ii) investigate the potentials for film poetry to attract new and/or under-represented audiences to literary festivals, focusing on Writing West Midlands's Birmingham Literary Festival.

这个项目-基尔大学，曼彻斯特城市大学和写作西米德兰兹之间的合作-将产生一个电影诗歌集，并调查电影诗歌的潜力，以扩大文学节的观众。.写作西米德兰兹郡（WWM）是该项目的理想合作伙伴：基尔和特伦特河畔斯托克包括在WWM的职权范围内，监督员和组织之间建立了关系。研究问题（a）数字位置诗歌（特别是电影诗歌）在写作和阅读过程方面与页面上的位置诗歌有何不同？(b)数字电影诗歌如何提高观众对伯明翰文学节以及其他文学节的参与度？(c)数字电影诗歌在为代表性不足的观众促进电影节内容的可访问性方面有什么潜力，从而为西米德兰兹郡的多样性创造性案例做出贡献？背景2019年春季，英格兰艺术理事会启动了数字文化网络，以提高艺术和文化组织的数字能力和“数字成熟度”。1这是政府主导的更广泛倡议的一部分，旨在提高英格兰艺术领域的数字能力。虽然围绕数字人文学科的“新兴领域”（Thompson Klein，2015）有很多争论，但对于后者的组成几乎没有共识，Burdick等人建议“数字人文学科与其说是一个统一的领域，不如说是一系列收敛的实践”（2012：SG 2）。虽然数字人文学科增加知识可及性的能力得到了认可（参见Terras 2015），但要提高这一领域的包容性还需要做更多的工作，迄今为止，这一领域一直由以英语撰写的基于文本的奖学金主导（Mahoney 2018）。正如Thompson Klein警告的那样，数字人文学科的发展和投资在地球仪上是不平衡的（2015：3-4），这表明Kleinman在一篇关于大学生高速互联网接入的文章中指出的“数字鸿沟”仍然存在（2001：51）。这个项目的目的是（一）创造新的数字电影诗歌具有文本，图像和声音由一个单一的作者和（二）调查电影诗歌的潜力，以吸引新的和/或代表性不足的观众文学节，专注于写作西米德兰兹郡的伯明翰文学节。