This article takes a fresh look at Pierre Bourdieu's notion of consecration by applying a mixed methods approach to the way authorship unfolds around the Nobel Prize. Drawing on both conceptual literary history and corpus-assisted discourse analysis, the case study of Herta Müller's ‘unexpected’ win in 2009 is taken as a starting point for establishing how different ‘modes of authorship’ play out in different contexts and at different scales. Conceptually speaking, ‘modes of authorship’ develop further Jérôme Meizoz's work on ‘literary posture’ (2007, 2011), expressing how multiple actors, human and non-human alike, convey attitude within the networks that cohere around literature. Newspaper coverage of Müller's win at different points in time and place, together with paratextual material (book covers, front/end matter) that pre- and post-dates the Nobel award, is analysed to identify modes of authorship associated with Nobel winners. Our analysis documents how the scandals that periodically ensue when an ‘unlikely’ author wins point to a much more diffuse notion of consecration than traditional field theory allows. This is better captured through a network-inspired ontology of authorship than through the inferential approaches more standardly offered by literary theory.

本文通过运用混合方法来探讨诺贝尔奖作者身份的展开方式，重新审视皮埃尔·布迪厄的奉献概念。借鉴概念文学史和语料库辅助话语分析，赫塔·穆勒 2009 年“意外”获胜的案例研究被视为确定不同“作者模式”如何在不同背景和不同规模下发挥作用的起点。从概念上讲，“作者模式”进一步发展了杰罗姆·梅佐兹关于“文学姿态”的作品（2007年，2011年），表达了多个演员（人类和非人类）如何在围绕文学的网络中传达态度。报纸在不同时间和地点对穆勒获胜的报道，以及副文本材料（书籍封面、对诺贝尔奖颁发之前和之后的内容进行分析，以确定与诺贝尔奖获得者相关的作者模式。我们的分析记录了当“不太可能”的作者获胜时周期性发生的丑闻如何指向比传统场论所允许的更加分散的奉献概念。通过受网络启发的作者身份本体论比通过文学理论提供的更标准的推理方法可以更好地捕捉到这一点。