Globalization and cultural diversity in the book market: The case of literary translations in the US and in France

Greek hip hop: Local and translocal authentication in the restricted field of production

“…This paper examines how hip hop practitioners, not corporations, are now actively trying to aesthetically legitimate rap music as a restricted popular art in order to stop its assimilation into the field of large scale cultural production. Drawing on current studies of restricted production (Lopes, 2000;Craig and DuBois, 2010;Sapiro, 2010) and legitimation (Johnson et al, 2006, andScardaville, 2009), this paper illustrates how hip hop practitioners in the restricted field of production seek to legitimate hip hop culture and rap music as an aesthetic, not economic, cultural form. Past studies of restricted production have illustrated how the tensions between art and commerce are resolved by cultural producers in the literary field.…”

“…Others studies have mapped out the relationship between restricted and large scale production in the global book market. For example, Sapiro (2010) illustrates how language structures the global book market, with English being the dominant language at the pole of large scale production, and cultural diversity being more present at the field of restricted production. Furthermore, a recent study on the processes of legitimation within U.S. soap operas illustrates how soap operas gained widespread economic legitimacy (popular principle of legitimacy) though they never fully achieved widespread aesthetic legitimacy (specific principle of legitimacy) (Scardaville, 2009).…”

“…Past studies examine how 'restricted popular art' is unaccounted for within Bourdieu's model of cultural production (Lopes, 2000), how punk operates as a independent field of cultural production (Moore, 2007), how Pierre Bourdieu's theories can improve through an incorporation of actor network theory (Prior, 2008), how rock music is legitimated as 'real art' (Regev, 1994), how the concept of 'location' acts as a supplement to the concepts of position and disposition in understanding how strategies are enacted in cultural fields (author, forthcoming), and how the concept of 'subcultural capital' contributes to our understandings of musical subcultures (Thornton, 1996). This paper examines hip hop culture in Athens, Greece, in order to provide an empirical contribution to Bourdieusian studies of restricted cultural production (Craig and Dubois, 2010;Sapiro, 2010 andHitters andvan de Kamp, 2010).…”

‘We try to have the best’

“…Working on contemporary art, Alain Quemin (2013) has shown that although international prize lists are presented as universal and art dealers recuse territoriality as taking part in their choices of artists, these lists reveal the permanence of national categories: indeed citizens from the United States and Germany largely dominate the market. Research in translation studies has also examined how unequal flows between centers and peripheries structure global cultural markets (Heilbron 1999;Sapiro 2010). In her analysis of book translations, Sapiro (2008) further indicates that the type of languages translated differs according to the publisher's position: smaller ones tend to favor translations from semi-peripheral or peripheral languages, because they cannot compete economically with larger and more commercial publishing houses, which translate from central languages such as English.…”

“…Research in translation studies has also examined how unequal flows between centers and peripheries structure global cultural markets (Heilbron 1999;Sapiro 2010). In her analysis of book translations, Sapiro (2008) further indicates that the type of languages translated differs according to the publisher's position: smaller ones tend to favor translations from semi-peripheral or peripheral languages, because they cannot compete economically with larger and more commercial publishing houses, which translate from central languages such as English. Music rarely involves translation, and thus is often portrayed as circulating more "freely", especially with the rise of transfers through the internet (Jung and Shim 2014).…”