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Tek, the modern cave boy
Caveboy Tek is obsessed with his electronic devices and ignores the world around him, until his family and friends hatch a plan to get him to unplug.
Book
Reading Network Fiction
The marriage of narrative and the computer dates back to
the 1980s, with the hypertext experiments of luminaries such as
Judy Malloy and Michael Joyce. What has been variously called
\"hypertext fiction,\" \"literary hypertext,\" and \"hyperfiction\" has
surely surrendered any claim to newness in the 21st century.
David Ciccoricco establishes the category of \"network fiction\" as
distinguishable from other forms of hypertext and cybertext:
network fictions are narrative texts in digitally networked
environments that make use of hypertext technology in order to
create emergent and recombinant narratives. Though they both
pre-date and post-date the World Wide Web, they share with it an
aesthetic drive that exploits the networking potential of digital
composition and foregrounds notions of narrative recurrence and
return. Ciccoricco analyzes innovative developments in network
fiction from first-generation writers Michael Joyce (
Twilight, a symphony , 1997) and Stuart Moulthrop (
Victory Garden , 1991) through Judd Morrissey’s
The Jew's Daughter (2000), an acclaimed example of
digital literature in its latter instantiations on the Web. Each
investigation demonstrates not only what the digital environment
might mean for narrative theory but also the ability of network
fictions to sustain a mode of reading that might, arguably, be
called \"literary.\" The movement in the arts away from
representation and toward simulation, away from the dynamics of
reading and interpretation and toward the dynamics of interaction
and play, has indeed led to exaggerated or alarmist claims of the
endangerment of the literary arts. At the same time, some have
simply doubted that the conceptual and discursive intricacy of
print fiction can migrate to new media. Against these claims,
Reading Network Fiction attests to the verbal complexity
and conceptual depth of a body of writing created for the surface
of the screen.
eBook
Between Page and Screen
Since the earlier twentieth century, literary genres have traveled across magnetic, wireless, and electronic planes. Literature may now be anything from acoustic poetry and oral performance to verbal--visual constellations in print and on screen, cinematic narratives, or electronic textualities that range from hypertext to Flash. New technologies have left their imprint on literature as a paper-based medium, and vice versa. This volume explores the interactions between literature and screenbased media over the past three decades. How has literature turned to screen, how have screens undone the tyranny of the page as a medium of literature, and how have screens affected the page in literary writing? This volume answers these questions by uniquely integrating perspectives from digital literary studies, on the one hand, and film and literature studies, on the other. \"Page\" and \"screen\" are familiar catchwords in both digital literary studies and film and literature studies. The contributors reassess literary practice at the edges of paper, electronic media, and film. They show how the emergence of a new medium in fact reinvigorates the book and the page as literary media, rather than signaling their impending death. While previous studies in this field have been restricted to the digitization of literature alone, this volume shows the continuing relevance of film as a cultural medium for contemporary literature. Its integrative approach allows readers to situate current shifts within the literary field in a wider, long-term perspective.
eBook
The exact location of home
Believing his long-absent father is missing and leaving clues behind through geocaching, Zig, thirteen, relies on his love of electronics, a garage sale GPS unit, and his best friend Gianna to search for answers.
Book
Breath in the technoscientific imaginary
Breath has a realist function in most artistic media. It serves to remind the reader, the viewer or the spectator of the exigencies of the body. In science fiction (SF) literature and films, breath is often a plot device for human encounters with otherness, either with alien peoples, who may not breathe oxygen, or environments, where there may not be oxygen to breathe. But while there is a technoscientific quality to breath in SF, especially in its attention to physiological systems, concentrating on the technoscientific threatens to occlude other, more affective aspects raised by the literature. In order to supplement the tendency to read SF as a succession of technoscientific accounts of bodily experience, this paper recalls how SF texts draw attention to the affective, non-scientific qualities of breath, both as a metonym for life and as a metaphor for anticipation. Through an engagement with diverse examples from SF literature and films, this article considers the tension between technoscientific and affective responses to breath in order to demonstrate breath's co-determinacy in SF's blending of scientific and artistic discourses.
Journal Article
Diary of a wimpy kid : old school
Greg Heffley's town voluntarily unplugs and goes electronics-free, but modern life has its conveniences, and Greg is not cut out for an old-fashioned world.
BOOK
London and the Making of Provincial Literature
In the early nineteenth century, London publishers dominated the transatlantic book trade. No one felt this more keenly than authors from Ireland, Scotland, and the United States who struggled to establish their own national literary traditions while publishing in the English metropolis. Authors such as Maria Edgeworth, Sydney Owenson, Walter Scott, Washington Irving, and James Fenimore Cooper devised a range of strategies to transcend the national rivalries of the literary field. By writing prefaces and footnotes addressed to a foreign audience, revising texts specifically for London markets, and celebrating national particularity, provincial authors appealed to English readers with idealistic stories of cross-cultural communion. From within the messy and uneven marketplace for books, Joseph Rezek argues, provincial authors sought to exalt and purify literary exchange. In so doing, they helped shape the Romantic-era belief that literature inhabits an autonomous sphere in society.
London and the Making of Provincial Literaturetells an ambitious story about the mutual entanglement of the history of books and the history of aesthetics in the first three decades of the nineteenth century. Situated between local literary scenes and a distant cultural capital, enterprising provincial authors and publishers worked to maximize success in London and to burnish their reputations and build their industry at home. Examining the production of books and the circulation of material texts between London and the provincial centers of Dublin, Edinburgh, and Philadelphia, Rezek claims that the publishing vortex of London inspired a dynamic array of economic and aesthetic practices that shaped an era in literary history.
eBook
The Frindle files
\"Josh Willet is a techie, a serious gamer. Which is why Josh and his friends can't stand Mr. N's ELA class; it's a strict no-tech zone. Mr. N makes them write everything out by hand, he won't use a Smartboard, and he's obsessed with some hundred-year-old grammar book. Then Josh discovers a secret; turns out Mr. N's been keeping a lot more than technology from his students! Together with his best friend Vanessa, and using all the computer skills they've got, Josh is determined to solve the mystery of Mr. N's past. And maybe get some screentime back, too?\"-- Provided by publisher.
BOOK
Before Fiction
Fiction has become nearly synonymous with literature itself, as if Homer and Dante and Pynchon were all engaged in the same basic activity. But one difficulty with this view is simply that a literature trafficking in openly invented characters is a quite recent development. Novelists before the nineteenth century ceaselessly asserted that their novels were true stories, and before that, poets routinely took their basic plots and heroes from the past. We have grown accustomed to thinking of the history of literature and the novel as a progression from the ideal to the real. Yet paradoxically, the modern triumph of realism is also the triumph of a literature that has shed all pretense to literalness.Before Fiction: The Ancien Régime of the Noveloffers a new understanding of the early history of the genre in England and France, one in which writers were not slowly discovering a type of fictionality we now take for granted but rather following a distinct set of practices and rationales. Nicholas D. Paige reinterprets Lafayette'sLa Princesse de Clèves, Rousseau'sJulie, ou la Nouvelle Héloïse, Diderot'sLa Religieuse, and other French texts of the seventeenth and eighteenth centuries in light of the period's preoccupation with literal truth. Paige argues that novels like these occupied a place before fiction, a pseudofactual realm that in no way leads to modern realism. The book provides an alternate way of looking at a familiar history, and in its very idiom and methodology charts a new course for how we should study the novel and think about the evolution of cultural forms.
eBook