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consolatory status of literature here is determined by developments in globalising communications technologies, which may have rendered it ‘no longer necessary’.31 In this context, the internet is also described in terms of spectral dematerialisation: ‘texts become increasingly ghostlike and ephemeral’.32 As this is articulated against contemporary popular forms of the paranormal – televisual, for example – we thus return to the opposition of literary and folk practices. Sword’s defence of a complex form of modern literary authorship, and nostalgia for literary tradition
the benefit of hindsight, this situation of change is usually described as the period which gave rise to the professional roles of publisher and author.3 While this perspective traces an important long-term development, the focus on literary authorship can obscure some of the complex practices developed by people with a stake in the literary sector of nineteenth-century Spain. This chapter uses the case of Faustina Sáez de Melgar (Villamanrique de Tajo, 1834–Madrid, 1895) to explore these complexities through the more flexible lens of cultural entrepreneurship, with