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"Hypertext fiction"
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Tactics of the human : experimental technics in American fiction
\"Tactics of the Human: Experimental Technics in American Fiction examines the ways contemporary American fiction develops digital cultures through the creative transposition of digital rhetorics and technological practices, incorporating devices such as the hyperlink, network, and recursive processing into print or in translating a classic print narrative into a digital hypertext fiction. These literary experiments with early digital cultures from the 1990s comparatively retrace and speculate on the digital's transformative influence on prior understandings of the human, of social lives, and of individuals' relations to material lifeworlds, exploring the consequences of the apparent plasticity of the boundaries of the human, particularly for women, subaltern subjects, and others already considered liminally human. As these texts query the digital technics entering into textual practices, subjectivity, spatial practices and social networks, lived space, nation, and economic circulation, they reconceive their own literary print narrative methods and material modes of circulation in order to elaborate on unnoticed potentialities and limits of digital technics, providing a crucial means to reorient digital cultures of the present\"-- Provided by publisher.
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
Literary Gaming
In this book, Astrid Ensslin examines literary videogames -- hybrid digital artifacts that have elements of both games and literature, combining the ludic and the literary. These works can be considered verbal art in the broadest sense (in that language plays a significant part in their aesthetic appeal); they draw on game mechanics; and they are digital-born, dependent on a digital medium (unlike, for example, conventional books read on e-readers). They employ narrative, dramatic, and poetic techniques in order to explore the affordances and limitations of ludic structures and processes, and they are designed to make players reflect on conventional game characteristics. Ensslin approaches these hybrid works as a new form of experimental literary art that requires novel ways of playing and reading. She proposes a systematic method for analyzing literary-ludic (L-L) texts that takes into account the analytic concerns of both literary stylistics and ludology.After establishing the theoretical underpinnings of her proposal, Ensslin introduces the L-L spectrum as an analytical framework for literary games. Based on the phenomenological distinction between deep and hyper attention, the L-L spectrum charts a work's relative emphases on reading and gameplay. Ensslin applies this analytical toolkit to close readings of selected works, moving from the predominantly literary to the primarily ludic, from online hypermedia fiction to Flash fiction to interactive fiction to poetry games to a highly designed literary \"auteur\" game. Finally, she considers her innovative analytical methodology in the context of contemporary ludology, media studies, and literary discourse analysis.
eBook
Interactional Metalepsis and Unnatural Narratology
This article argues that interactional metalepsis is a device that is inherently built into ergodic digital fiction and thus that ergodic digital fiction is necessarily unnatural. Offering a definition and associated typology of interactional metalepsis as it occurs in digital fiction, it explores the ways in which these media-specific and unnatural forms of metalepsis manifest in that medium. It defines interactional metalepsis as a form of metalepsis which takes place across the actual to storyworld boundary and that exploits the interactive nature of digital technology via the hardware through which the reader accesses the text, such as the mouse, keyboard, or other navigational devices, and/or via media-specific interactive modes of expression such as hyperlinks or avatars. It argues that because interactional metalepses are inherently unnatural both in terms of physically and logical impossibility and also because interactional metalepsis is a device that is intrinsically built into ergodic digital fiction, digital fictions are inherently unnatural. Exploring the ways in which these mediaspecific and unnatural forms of metalepsis manifest in digital fiction, I offer a typology of interactional metalepsis which incorporates the following: metaleptic navigational devices, metaleptic hyperlinks, metaleptic webcams, and metaleptic breath. The article shows that digital fiction allows unnatural narrative to manifest in ways that must be analyzed media-specifically and therefore according to the affordances of a particular medium. I argue further that different forms of metalepsis are likely to be conventionalized by readers of digital fiction to varying degrees which depend upon the wider digital, cultural context to which they belong and also that, unlike most metalepses in print which are typically defamiliarizing, some forms of interactional metalepsis can have the opposite, immersive effect. This article shows that some of the theoretical underpinnings of unnatural narrative need to be reconsidered in light of the unnatural's manifestation in digital fiction. It thus contributes to the development of unnatural narratology as a transmedial approach.
Journal Article
