INEP, ENADE

It is time now to return to the “literature” in “comparative literature” and to examine its position, which we believe vital, in the new digital context, which has become the context of all cultural production today. The fact that any form of production whatsoever is now impacted and transformed by the digital turn in culture, however, does not imply that literature and the book have become residual domains of culture, whose dominant and emergent forms (to follow here the terminology coined by Raymond Williams 1977) would then be digital and multimedia.

One may have the impression that literature is now evolving towards new forms of transmedia storytelling. True, this is a decisive turn or shift in contemporary writing. However, it would be dangerous to conclude that this evolution is linear or teleological. In this case, there is no reason at all to think that the literature of tomorrow will become transmedia storytelling, with only a marginal place left for what used to be considered literature and its traditional mediations. Even Henry Jenkins made it clear from the beginning that “not all stories will flow across media”, right after pointing to Hollywood´s pitches as the referential scenario against which transmedial storytelling’s focus on characters and worlds must be understood. BAETENS, J.; SÁNCHEZ-MESA, D. Comparative Literature in the Age of Convergence Culture. Interfaces. 36, 2015 (adapted). O texto apresentado faz uma reflexão sobre o lugar da literatura nos dias atuais, apontando para a