Article

0The Convergence of Contemporary Critical Theory and Technology

Authors:
To read the full-text of this research, you can request a copy directly from the author.

No full-text available

Request Full-text Paper PDF

To read the full-text of this research,
you can request a copy directly from the author.

... Destaque-se que o hipertexto possui uma história 8 que, desde o Memex de Bush até Ted Nelson -criador, na década de 1960, do termo hipertexto -, se potencializa, modernamente, com o advento das tecnologias digitais. Como modo operatório de escrita, porém, cujo princípio se pauta pela multiplicidade e não linearidade, foi antecipado, em muito, pela literatura (Landow, 1992;Murray, 2003), e o romance Memórias póstumas de Brás Cubas é exemplar nesse sentido: uma escrita modular por excelência, como vimos anteriormente. ...
... E eis que o leitmotiv da memória surge, agora na correlação com a materialidade do livro impresso, ao aproximá-la de uma "errata pensante", que corrige, na nova edição, aquela do passado.Acreditamos que esses exemplos sejam suficientes para justificar a estrutura hipertextual em potência na raiz das Memórias póstumas, de modo que nada mais apropriado do que trazê-la para a visibilidade, na medida em que a edição impressa do livro possa se expandir para outra mídia que favoreça esse movimento multilinear e ziguezagueante que, tal como o verme, corrói e se dissemina por todo o corpo da narrativa, desde a dedicatória(Oliveira, 2019).É dessa forma que os capítulos operam como blocos textuais móveis, que se aproximam do modelo hipertextual. É a navegação do leitor que vai traçando o itinerário por meio de associações -ora estimuladas pelo narrador-defunto, ora de forma livre, entre expressões, personagens e cenas -que lhe permitem a escolha de seu próprio centro de experimentação, à semelhança de um sistema hipertextual(Landow, 1992).5 Esse fragmento é o 357 da obra Pensamentos, de 2005, em tradução para o português. ...
... O projeto, realizado com auxílio de verba do Plano de Incentivo à Pesquisa (PIPEq-PUC-SP), desenvolveu-se entre 2021 e 2022, sob a coordenação dos professores doutores Maria Rosa Duarte de Oliveira e Marcus Fainer Bastos, junto a um grupo de pesquisadores vindos dos Programas de Literatura e Crítica Literária e Tecnologias da Inteligência e Design Digital da PUC-SP, além de uma equipe técnica responsável pela programação e pelo desenvolvimento do site.8 A origem do conceito de hipertexto é atribuída a Vannevar Bush, como lembraLandow (1992), que, em 1945, propôs uma máquina -Memex -que funcionaria como uma espécie de extensão da memória humana, cuja função principal seria armazenar informações à semelhança da mente humana, que opera por associações.9 A tipografia Garamond é uma das fontes clássicas mais reconhecidas e utilizadas no mundo da tipografia. ...
Article
Full-text available
O objetivo do artigo é focalizar a sobrevivência do clássico do final do século XIX Memórias póstumas de Brás Cubas para a contemporaneidade, por meio de uma operação de intermidialidade entre o livro impresso e a mídia digital, tendo por elemento mediador a forma hipertextual, em latência no livro. A criação de uma interface na web é responsável pela expansão do livro para novos domínios, tendo, nos fluxos de hiperlinks associativos e na interatividade, fatores decisivos para sua sobrevivência.
... When we will be able to navigate in virtual-reality-like hypertexts (and, given the actual circumstances, it is not difficult to think of such a possibility in the World Wide Web), we will fully understand the idea that the hypertextual logic, virtual realities, cyberspace, and, in general, the new paradigm of electronic communication will have a vital role in reshaping the configuration of our cognitive processes, in changing the way we learn, interact, work, and play. 26 NOTES: Landow 1991;Landow 1992Landow , 1994Coover 1992Coover , 1993 8 With the word "button" here we mean to identify a class of objects with certain properties, rather than the more specific "clickable object" usually called "button." In this more general sense, a button can be any identifiable portion or element of the page created so as to register the presence of and (in some cases) react to the mouse-pointer within its own domain, and/or to fulfill the particular task(s) for which it has been programmed (usually the execution of a "jump" to a linked object) once the mouse is clicked. ...
... When we will be able to navigate in virtual-reality-like hypertexts (and, given the actual circumstances, it is not difficult to think of such a possibility in the World Wide Web), we will fully understand the idea that the hypertextual logic, virtual realities, cyberspace, and, in general, the new paradigm of electronic communication will have a vital role in reshaping the configuration of our cognitive processes, in changing the way we learn, interact, work, and play. 26 NOTES: Landow 1991;Landow 1992Landow , 1994Coover 1992Coover , 1993 8 With the word "button" here we mean to identify a class of objects with certain properties, rather than the more specific "clickable object" usually called "button." In this more general sense, a button can be any identifiable portion or element of the page created so as to register the presence of and (in some cases) react to the mouse-pointer within its own domain, and/or to fulfill the particular task(s) for which it has been programmed (usually the execution of a "jump" to a linked object) once the mouse is clicked. ...
... authors (such as Butor, Calvino, Cortazar, Joyce, Perec, Pynchon, Queneau, Saporta, Vonnegut) who have developed, in a way or another, what we can call a pre-hypertextual narrative logic see, for example, Moulthrop 1991aMoulthrop , 1991bBolter 1991;Landow 1992;Rees 1994. In any case, we should notice that, although texts such those just mentioned try to organize their narrative structures according to a non-linear principle, they still need a linear reading, since they cannot get rid of the linear coercions imposed upon them by the printing technology (in The Babysitter the events described in chapter [n] will always be read (at least during the first reading) after the events narrated in chapter [n-1], no matter if they come before (logically or chronologically) the ones presented in chapter [n-1]). ...
Chapter
Full-text available
... Em pesquisas acerca de mídias digitais, o conceito de hipertexto é tradicionalmente evocado para nomear arquiteturas discursivas compostas por blocos de informação (também chamados de lexias, ou nós) interconectados eletronicamente, entre os quais os leitores circulam à sua escolha (LANDOW, 1992). Tal ideia (ainda que expansível para tratar de textos impressos cujas práticas de leitura também sejam não sequenciais, orientadas por rotas definidas pelo leitor, como em enciclopédias, notas de rodapé, sistemas de índices e referências etc.), é sabidamente inspirada no projeto Memex, de Vannevar Bush, que já em 1945 idealizava uma máquina para associação e recuperação mecânica de dados inter-relacionados, servindo a profissionais cujas atividades envolvessem a gestão de um número cada vez maior de informações e que precisassem transitar entre elas rapidamente. ...
... De tal sorte, a hiperpoesia é praticada hoje por poucos artistas independentes que se especializam no gênero, o qual exige um difícil equilíbrio num sistema de forças centrífugas -como a multilinearidade do hipertexto, seu pendor para a narratividade e sua consequente tendência à fragmentação e à dispersão nos percursos entre links determinados pelo leitor (LANDOW, 1992) -e forças centrípetas -como a unicidade da imagem poética (PAZ, 1996), a concisão de sua linguagem (COHEN, 1970) (RAMOS, 1974). Frente a essas conflitantes demandas composicionais que o gênero impõe, cada artista busca caminhos próprios para constituir suas obras, sendo o sistema de articulação de lexias por links eletrônicos o recurso mais recorrente na hiperpoesia para modular tensões nesse compósito de forças heterogêneas. ...
... Ainda acerca do tema da heterogeneidade, cabe ressaltar que Landow (1992), sob uma perspectiva fortemente marcada pelo pensamento pós-estruturalista e pós-modernista, destaca a potencialidade do hipertexto para implementar eletronicamente uma série de colocações que, para ele, antes se limitavam ao nível teórico no âmbito dos Estudos Literários. Incluem-se aí a ideia de différance, de Derrida (2003), pois um hipertexto é sempre diferente de si mesmo, a cada leitura que é feita por meio da escolha de distintos links; a discussão de Barthes (1994) sobre a abertura do texto, em oposição a um suposto fechamento da obra, já que o hipertexto estaria sempre sujeito à ressignificação no ato leitor; os conceitos de intertextualidade e paragrama em Kristeva (2005), dado que um hipertexto é sempre uma rede de textos que se interpenetram e se sobredeterminam mutuamente; e a noção de rizoma, de Deleuze e Guattari (1997), visto que um hipertexto pode vir a ser um labirinto descentralizado e descentralizador do pensamento e do sentido. ...
Article
Full-text available
Não obstante sua relevância na história das concepções de texto e das tecnologias digitais, a noção de hipertexto frequentemente se esvazia na academia, seja pela inflação semântica a que é submetido para designar dinâmicas de linguagem muito distintas, seja pelo fato de que praticamente todos os discursos na Internet se organizam de modo hipertextual/hipermidiático. Mais especificamente no que tange à literatura eletrônica – campo artístico em franca expansão –, as pesquisas precisam ir além da constatação da organização hipertextual das obras digitais; nesse sentido, devem buscar entender as singulares operações poéticas que o hipertexto pode ensejar e seus respectivos efeitos de sentido. Nessa direção, o presente artigo propõe uma leitura de hiperpoemas de Alter ego, Figures e Lames, desenvolvidos em Flash pela artista québecquense Marie Bélisle. Nessa análise, enfocaremos as operações poéticas engendradas pelo recurso de hiperlinks, para tanto propondo uma categorização de poéticas hipertextuais de alternância, expansão e redistribuição.
... Since literary hypertext and electronic literature are relatively new phenomena, there are not so many monographs devoted to their study today. Among the most significant of them, it is worth noting the works of the "pioneers" of electronic literature "Hypertext: The Convergence of Contemporary Critical Theory and Technology" by George P. Landow [16] and "Writing Space" by Jay D. Bolter [11]. Both authors under the concept of "hypertext" meant exclusively electronic literature, and hyperlinks were called its main distinguishing feature. ...
... But first, letꞌs dwell on what a literary hypertext is. One of the first definitions of this concept was given by George P. Landow: "This is a text consisting of verbal blocks (or images) that are connected by electronic links and create numerous routes, networks or paths in an open, fundamentally incomplete text…" [16]. This definition seems incomplete to us, because it implies that only electronic novels can be hypertexts. ...
Conference Paper
Full-text available
The article highlights the issue of the influence of digital technologies on the formation and content of modern literary text (hypertext). For this purpose, an analysis of the works of some authors is given in the context of the evolution of hypertext as an art form. Similar and individual characteristics are revealed between the selected books and examples of earlier works of art that have reached the level of hypertext. The influence of digital technologies on this art form is noted, expressed primarily in two opposing trends - imitation of the effects of electronic text, on the one hand, and emphasizing the materiality of the book and the impossibility of replacing it with a computer, on the other.
... It is based on hyperlinks. It is a "hypermedia" and "multi sequence reading text" that accommodate and link different forms of text [3] . At present, the existing interactive film and television works have the primary characteristics of hypertext film and television to a certain extent. ...
Article
Full-text available
p>Starting from the enlightenment of the concept of metaverse to film and television creation, this paper puts forward that metaverse will be possible to reconstruct digital virtual space-time, open a new context of interactive narration and replace real actors with virtual personification. The role of film and television audience will also experience the transformation from viewer to experiencer, from audience to player, and from audience to creator. In addition, the virtual world constructed by the metaverse may cause ethical risks due to the unlimited creative freedom, domesticate the film and television audience into a new “container”, encourage users to form a value orientation from reality to emptiness, and also pose new challenges to the film and television content audit mechanism and management in the digital virtual space.</p
... So, it expounds that a text corresponds with a textile and it interweaves the present text (of one) with previous texts (of others). According to Landow & ow (1991) and Deleuze (1968),'a text is spatially and temporally networked with other texts'. A text, therefore, has nomadic centers of meaning. ...
... Comecemos pela primeira. Embora suas ideias tenham também influenciado estudos pioneiros sobre os hipertextos no ambiente de convergência, como o de Landow (1992), a descrição que Genette (1989) faz desse tipo de relação entre textos abre novas perspectivas na compreensão da textualidade transmídia. Para ele, há hipertextualidade quando um texto A (hipotexto) deriva de um texto B (hipertexto) e, ainda que B não fale nada de A, B não poderia existir tal como é sem A, pois dele se desdobra. ...
Article
Full-text available
Transmedia Television designates a type of production model which incorporates other media and platforms, especially digital social networks, within the creative chain of the television industry. Public participation is an indispensable condition for the materialization of the transmedia strategies, even when the actions are, in a way, directed by the producers’ intelligence. Due to the engagement required for such actions, the recipient of a transmedia action is, ideally, a fan. The challenge imposed for the researchers is to better understand the role of fans in the constitution of a type of text – the transmedia text – whose manifestation depends on their work, that is, their willingness to take over roles and act as proposed by the communication sender.
... This concept can be related to "wreader", a term coined by early adopters of hypertext in the late 1980s and early 1990s to refer to the dynamic nature of reading in internet environments where readers could leave their own trails of writing through the particular modes of linking texts in hypertext environments (cf.Bolter, 2001, andLandow, 1992). Unlike the strict division of writer/reader roles of print culture, electronic media opened up the way for more flexible exchanges between reading and writing activities. ...
Thesis
Full-text available
The aim of this study is to understand how a shared creative process of construction of virtual corporeality in collaborative virtual environments becomes an aesthetic experience. The research is divided into two main but correlated themes: virtual corporeality and shared creativity. It is my purpose to find the relationship between the constitution of a virtual corporeality and the new processes of creative sharing and creation in collaborative virtual environments. I also aim to relate these two aspects to the new forms of aesthetic experience emerging from these virtual contexts. Meta_Body is the main practical artwork that sustains this investigation, an ongoing project since 2011. This is a participatory art project. Initiated in Second Life and in a tangible art exhibition (All My Independent Women 6th edition, at Vienna), it now continues in the collaborative virtual environment’s creative flux. Meta_Body focuses on two aspects: first, the avatar as expressive body, open to experimentation and potency; second, avatar building as a shared creative process and as aesthetical experience. Through the practice of avatar creation, distribution, embodiment and transformation, I aim to understand the processes of virtual corporeality constitution. I interrogate the role of the body in the virtual environment, its importance in engaging with the world and in self-expression, exploring its metaphorical aspects. The method used to implement this project is a shared creative process, in which multiple subjects come to be authors along different phases of the project. Through the embodiment and transformation of avatars, the artwork’s aesthetical experience becomes itself a creative process. This research is therefore grounded on an art-based and project-based methodology, whose results can be seen not only in this written thesis, but also in the artworks themselves, and their derivatives. I accomplished my intended goals and came to a new understanding of virtual corporeality and its connection to shared creativity and aesthetical experience. I believe this work to be an important starting point for new investigations that will arise with the new turn to virtual reality.
... trata-se de uma textualidade navegante, solidária aos novos modos de "leitura". As propriedades do hipertexto suscitaram uma série de reflexões (ver, por exemplo, Levy, 1990;Nielsen, 1990;Slatin, 1991;Landow, 1994Landow, e 2006Rouet e outros, 1996). Não se trata propriamente de falar de um texto de uma ordem superior, mas de um sistema contingente construído pelo internauta: "O hipertexto (ou hiperdocumento) é um conjunto de textos, imagens e sons -nódulos -conectados por links eletrônicos de modo a formar um sistema cuja existência é contingente além do computador" 8 (Slatin, 1991: 56). ...
Article
Neste artigo, questiona-se a existência ou não de gêneros discursivos na web. Parte-se do princípio de que uma reflexão sobre a questão dos gêneros da web implica que ela seja confrontada à concepção em algum tipo “clássico” de gênero, que prevalece em um universo ou domínio de leitura, para ver em qual medida ele pertence à web e, se não for o caso, em qual sentido é preciso modificá-lo. O autor propõe, então, considerar a cenografia digital, com base em uma textualidade navegante, correlata a novos modos de leitura.
... Es decir, aquellos que proponen la traducción como parte del procedimiento de la puesta en escena (Corrigan, 1961;Nowra, 1984;Zuber-Skerritt, 1984;Pavis, 1990), y aquellos que promulgan que el trabajo del traductor se debe limitar al texto dramático (Bassnett y Lefevere, 1990). En el contexto de la propuesta de este método de traducción, en el cual se intenta buscar esa «otra forma» de traducir piezas teatrales, se propone analizar la lectura (Barthes, 1967(Barthes, y 2002Peirce, 1974Peirce, y 1987Eco, 1988;Landow, 1997) y la escritura (Derrida, 1998) como proceso hermenéutico para llegar a una «escritura en voz alta» (Deleuze, 1989b;Deleuze y Guattari, 1997;Derrida, 1989aDerrida, , 1998aDerrida, , 1998bDerrida, y 2002a. Por medio de esta «escritura en voz alta» se plantea el acercamiento al modelo de traducción literaria propuesto por George Steiner (1980), a través del concepto de desplazamiento hermenéutico que deriva en una traducción teatral intersemiótica. ...
Chapter
Full-text available
En el Mensaje Internacional del Día Mundial del Teatro, el 27 de marzo de 2008, el director, escritor y actor quebequense, Robert Lepage, dijo que «la supervivencia del arte teatral depende de su capacidad para reinventarse integrando nuevas herramientas y nuevas lenguas». En su mensaje también se pregunta y pregunta a todos aquellos que trabajan en torno al teatro, ¿de qué otra forma el teatro podría seguir siendo el testigo de todo lo que está en juego en su tiempo, a la vez que promover el acuerdo entre los pueblos, si él mismo no demostrara apertura? Usando sus propias palabras: «¿Cómo podría jactarse de ofrecer soluciones a los problemas de la intolerancia, la exclusión y el racismo, si, en su práctica propia, se negase a todo mestizaje y a toda integración?» (2008). Preguntas como éstas son formuladas a diario por todos aquellos que trabajan con la literatura, las lenguas, el teatro y las ciencias huma-nas y sociales en general. Es, también, a raíz de cuestionamientos muy similares a estos que en esta investigación se intenta realizar una amplia-1. Exposición coloquio internacional de traducción, Bariloche, 2010. Esta ponencia es parte del avance de investigación del proyecto FONDECYT de iniciación (n°11090198), «Pro-puesta y validación del método de traducción teatral escritura en voz alta, a través de obras de teatro británico contemporáneo de la dramaturga Caryl Churchill.» Dicho proyecto intenta ampliar los horizontes disciplinarios de la traducción teatral. Actas del II Coloquio Internacional «Escrituras de la Traducción Hispánica». San Carlos de Bariloche, 5-7 noviembre 2010, Albert Freixa y Juan Gabriel López Guix (eds.), 2011. ISBN: 978-84-694-0265-8. Disponible en:
... These nodes are connected together by different types of links. The major advantage of these systems is to encourage users to interact actively with learning environments (Landow, 1992). However, Hammond (1992) argues that, " An active involvement of learners does not mean letting them browse in a hypertext database aimlessly. ...
Article
Full-text available
Purpose The purpose of this paper is to review the use of adaptive systems in education. It is intended to be a useful introduction for the non-specialist reader. Design/methodology/approach A distinction is made between intelligent tutoring systems (ITSs) and adaptive hypermedia systems (AHSs). The two kinds of system are defined, compared and contrasted. Examples of the implementation of the two kinds of system are included. Findings Similarities and differences between the two kinds of system are highlighted. A conceptual unification is proposed based on the architecture of Course Assembly System and Tutorial Environment, a seminal prototype learning environment developed by Pask and Scott in the 1970s as an application of Pask’s conversation theory. Originality/value The architecture shows how the key aspects of ITSs and AHSs can be combined to complement each other. It is intended to be an original contribution that is of particular interest for the specialist reader.
... Uppgiften att analytiskt ta sig an dessa grundläggande litterära begrepp torde vara av yttersta värde för att kunna använda texter och reflektera " nyanserat och träffsäkert " (Skolverket, 2011: 180) kring berättelser som pekar mot framtiden. Aarseth 1995; Landow, 1992). Den andra fasen är betydligt mer komplex, sträcker sig fram till 2008 och innehåller flera underfaser. ...
Book
Full-text available
Hur tar sig berättande uttryck i olika format, i olika medier, i olika kulturer och med olika syften? Vilka betydelser kan detta ha för lärande, undervisning, identitet och meningsskapande? Samtida och framtida textkulturer utmanar föreställningar om berättande liksom föreställningar om språk, litteratur och kommunikation. Vilka berättelser, i vid mening, skapas och vilka berättelser får plats i modersmålsdidaktisk forskning och praktik? Möjligheterna att i och genom de digitala medierna utveckla expressiva och avancerade berättelser där ”läsaren” i hög grad erbjuds, och förutsätts, medverka öppnar upp för didaktiskt relevanta frågeställningar och möjligheter. Nya textvärldar och ändrade förutsättningar för textskapande och textläsande erbjuder och frammanar till en rad olika frågeställningar med relevans för modersmålsdidaktisk forskning och praktik. I rapporten Framtida berättelser samlas nordiska forskare för att från olika perspektiv tillsammans begrunda hur modersmålsdidaktisk forskning och praktik kan förstås, studeras, utövas och utvecklas. Den refereegranskade rapporten är ett resultat av den femte nordiska modersmålsdidaktiska konferensen, NNMF5, som ägde rum vid Åbo Akademi i Vasa i december 2015. Bidragen i rapporten består av ett urval artiklar baserade på presentationer framförda på konferensen.
... aastal kirjutas Bolter, et hüpertekst on justkui postmodernistliku kultuuriteooria "tõestus" (Bolter 1992). Samal aastal süstematiseeris Landow tollaste kaasteeliste väited ning sedastas, et hüpertekst tähendab peamiste poststrukturalistlike ja dekonstruktivistlike ideede pragmatiseerumist (eeskujudeks ennekõike Roland Barthes ja Jacques Derrida ning nende ideed autori surmast, logotsentrismi lõpust, tekstide avatusest, detsentraliseerimisest, "kirjutavast tekstist") (Landow 1992). Sellisena pidi hüpertekstist kujunema oluline vabastav, demokratiseeriv ja lugejaid võimestav jõud, sest see võimaldanuks lugejatel muutuda otseselt kaasautoriteks, kes osalevad tekstide nii mentaalsel kui ka füüsilisel konstrueerimisel -nad mitte ainult ei järjesta tekste, vaid saaksid neid ka mitmel moel täiendada. ...
Chapter
Full-text available
... Not only does Baudrillard position the binary code of digital information as the "divine form of simulation", 46 but his consideration and development of the concept of simulation provides an incredibly precise characterization of some of the features of digital media, even if, as George Landow argues, Baudrillard has a tendency to misunderstand the nuances of the technology. 47 Technically speaking, digital recordings are not records; they do not correspond to the customary metaphysical understanding of μίμησις [mimesis] and the copy. An analog recording, by contrast, can, as Eric Rothenbuhler and John Durham Peters argue, be seen as a mimetic reproduction that "has a continuous physical relation to the original music recorded". ...
Article
Full-text available
The theory and practice of sound recording, from at least the moment of the invention of the phonograph, has been groping toward "simulation" and the "hyperreal" even if these words are not used as such or, when used, are employed in a way that is not entirely faithful to or even cognizant of Baudrillard's writing. Conversely Baudrillard's texts from at least Symbolic Exchange and Death (1976) to the recent interviews collected in Fragments: Conversations With François L’Yvonnet (2001), whether explicitly acknowledged or not, articulate and provide a vocabulary for explaining, perhaps better than any competing theoretical lexicon, developments in sound recording. To put it another way, Baudrillard is one of the most attentive theorists to sound and sound reproduction, without saying much about it and without the music industry or contemporary theorists recognizing it as such.
... Uppgiften att analytiskt ta sig an dessa grundläggande litterära begrepp torde vara av yttersta värde för att kunna använda texter och reflektera " nyanserat och träffsäkert " (Skolverket, 2011: 180) kring berättelser som pekar mot framtiden. Aarseth 1995; Landow, 1992). Den andra fasen är betydligt mer komplex, sträcker sig fram till 2008 och innehåller flera underfaser. ...
Article
Full-text available
This article offers a comprehensive analytical exploration of the interrelation and differentiation between the concepts of discourse, text, and hypertext, with a specific focus on their significance in the modern academic and informational landscape. The authors investigate how these concepts shape contemporary communicative practices, particularly in response to the ongoing digital transformation of communication methods. Discourse is conceptualized as a broad communicative structure that extends beyond individual texts to encompass the social, cultural, and cognitive dimensions of communication. In contrast, text is defined as the materialised, linear manifestation of discourse, providing a concrete form through which discourse is realised and made accessible for interpretation. Hypertext, as a relatively new form of textuality emerging from the digital age, is characterised by its non-linear structure, enabling users to interact with information through interactive elements such as hyperlinks, multimedia content, and other digital tools. This allows users to navigate more freely between different segments of text, presenting new possibilities for communication and the dissemination of knowledge. The study reveals how each of these elements interacts with one another across various communicative contexts, particularly within digital media environments that significantly influence contemporary modes of information perception and transmission. The authors analyse the shifts occurring in the communicative space as audiences are increasingly empowered to engage with content actively, rather than passively consuming it. This is particularly relevant in the digital era, where hypertext as a form of textuality challenges the traditional notion of linear text. A key aspect of the article is its examination of the cognitive, structural, and pragmatic dimensions of discourse, text, and hypertext. The research sheds light on how cognitive processes evolve across different media environments and how these changes influence the ways meanings are constructed and information is interpreted. The authors explore how communicative strategies adapt pragmatically depending on the media context in which discourse operates. For example, within digital environments, users not only consume content but also participate in its creation, altering the very nature of communication itself. Furthermore, the article delves into the impact of hypertext on modern audiences. Digital media create new opportunities for interaction between users and texts, leading to the development of new forms of engagement where audiences become active participants in meaning-making. Hypertextual structures allow users to move freely between different sections of the text, challenging traditional conceptions of reading and information processing. In the article’s conclusions, the author emphasise that discourse, text, and hypertext are closely interrelated, yet each plays a distinct role in contemporary communication. Hypertext, as a new form of textuality, offers novel ways of interacting with information, made possible by digital technologies. This research contributes to a deeper understanding of how these elements shape modern communication and what challenges and opportunities arise as they adapt to the digital age. This analysis, therefore, highlights the transformative potential of hypertext in shaping the ways audiences engage with content. In traditional media, text was often seen as a static form of information delivery, while in digital environments, hypertext allows for a more dynamic interaction between the user and the content. As users navigate between various nodes of information, they contribute to the creation of meaning, shifting from passive readers to active participants in the communication process. Hypertext thus plays a crucial role in the evolution of communication practices in digital media, offering new tools for information dissemination and interaction. Finally, the article underscores the importance of understanding these evolving communicative dynamics in the context of digital media’s growing influence. As the volume of digital content expands and becomes increasingly complex, so too does the role of hypertext in structuring how we interact with, process, and interpret information. By exploring these shifts, the research provides valuable insights into the cognitive and pragmatic changes brought about by digital technologies and their implications for communication in the modern era. In sum, this research offers a nuanced perspective on the interplay between discourse, text, and hypertext, underscoring their relevance in shaping the landscape of modern communication. Through a detailed examination of their distinct yet interconnected roles, the study contributes to ongoing discussions in linguistics and communication studies about the evolution of textuality and the profound changes introduced by the digital age. The findings provide a framework for further exploration of how these elements not only facilitate information dissemination but also influence audience engagement in a rapidly digitising world.
Chapter
The continued and extensive studies of Aristotle (Laurel 1991; Kallay 2010) in the digital age suggest there is still a close relationship between drama and writing for the screen. However, others suggest the need for new forms of writing (Millard 2014; Murray 2012; Riggs 2019). This chapter asks what forms and processes are useful for new media forms. Using examples from my own work and the work of other writers and performance makers (Robin MacNicholas, IOU, and Blast Theory), I argue that writing which is informed/influenced by performance (and, therefore, the writer/audience as performer) is an understudied area of concern. This chapter will explore performance in new forms of visual production and suggest that improvisational techniques and negotiated narratives are likely to be important aspects of a writer’s toolkit in this new media age, especially in relation to interactive, participative or immersive forms of production.KeywordsAgencyCollaborative writingImmersionInteractiveNegotiated narratives
Article
In 2017 Professor of Literature John Farrell published The Varieties of Authorial Intention. Joining other dissenting voices past and present, this work addressed what the author considered a key tenet of mid- to late 20th century literary criticism: that reference to authorial intention is out of bounds, literary works being constituted by the text alone. Hypertext fiction has its own complex relationship with the notion of intention. From earlier entanglement in post-structuralist approaches to network textuality and the potential for readers to evade authors via branching narratives, hypertext fiction emerged as a distinctive form of textuality that can express intention in unique and unexpected ways. How effectively do the three modes of authorial intention Farrell identifies - communicative, artistic, practical - map to hypertext fiction both past and future? Can this model - devised in the context of linear print writing - accommodate the unique form of textuality represented by hypertext, with its own affordances and opportunities to express intent?
Thesis
Les études concernant la littérature numérique commencent à émerger, toutefois, le destinataire n’est qu’à de rares occasions pris en compte. Notre propos est ici de voir dans quelle mesure la matérialité numérique engendre une figure différente de lecteur, mais aussi comment cette matérialité contribue à faire émerger une poétique qui justement s’appuie sur le rôle donné au lecteur, tout en s’inscrivant résolument dans un contexte de communication. Nous étudierons les textes correspondant aux années 2004 et 2005 de Being human d’Annie Abrahams, les poèmes présents sur l’onglet « digital » du site de José Aburto Entalpia ainsi que l’œuvre de Jason Nelson Game game game and again game. Nous avons cherché à mettre les théories de la réception à l’épreuve de la matérialité numérique, dans une approche phénoménologique.La poésie numérique sollicite le corps de son lecteur qu’elle veut d’abord opératoire. Le corps auquel s’adresse José Aburto est un corps regardant, celui qui intéresse Jason Nelson, un corps mouvant et jouant, et enfin, le corps, pour Annie Abrahams, est perçu de façon plus holistique et plus sensible. Pour instituer ces différents corps de lecteur, la poésie numérique procède par interpellation : elle assigne au lecteur un espace, extérieur à l’œuvre, une temporalité, et ce, d’autant plus aisément qu’elle joue avec l’imaginaire d’un medium voué à la communication. L’interpellation brouille les frontières de l’œuvre, empiète sur l’espace du lecteur, dans un processus qui se rapproche d’une aliénation. Le rapport au temps est également bouleversé : œuvre, auteur, lecteur coexistent dans une même temporalité, réduite à un présent discursif. Le questionnement du lecteur dans sa matérialité permet de l’incarner poétiquement. Ses gestes apparaissent comme autant de tropes poétiques. La présence du lecteur procède des contradictions que l’œuvre entretient avec son milieu. Ainsi, le lecteur poétique et opératoire semble entrer en conflit avec un lecteur plus herméneutique. Le mouvement dans l’œuvre se fait au détriment de la dynamique interprétative. L’interaction de la présence poétique et de l’herméneutique amène alors à s’interroger sur la part du signe numérique dans le processus herméneutique. L’image, le mouvement le lien apparaissent comme des signes sans référentialité, porteurs de signification plus que de sens. L’œuvre numérique, en tant que dispositif, amène son lecteur à produire une interprétation en redoublant en quelque sorte sa lecture. Ce n’est plus la lecture qui génère une interprétation, mais l’interprétation de la lecture, du mouvement dans l’œuvre, qui doit produire une signification plus qu’un sens. La poésie apparait donc comme une réflexion et sur le signe lui-même et sur la dynamique de compréhension, elle-même prise dans le miroir du mouvement de l’œuvre. Le sujet lecteur nait alors de ce processus d’aliénation, lié au milieu numérique et de son détournement réflexif par le dispositif poétique.
Thesis
Full-text available
Electronic literature as a literary genre in the digital medium employs elements of interactivity to involve the reader in the narrative. In this way, electronic narratives exhibit an explicit correspondence to reader response theory with the reader’s choices materialized in physical interactivity. However, reader-centered criticism is rarely mentioned as the origin of the discussion on narratology for this genre. This thesis is aimed to examine the correlation between the text-reader relationship as it is described by advocates of reader response theory for print books and as it is performed in electronic literature. The research is based on a qualitative comparison of literary criticism and electronic literature. Two hypertext fiction novels, afternoon, a story by Michael Joyce and Patchwork Girl: Or, a Modern Monster by Shelley Jackson, are used for the analysis. The findings display a more complex system of organization of the text in the digital medium combined with higher complexity in levels of its understanding as well as visual strategies to mitigate this complexity. Yet the results leave room for further discussions of narratology and gamification in later kinds of electronic literature, like network-based collaborative writing projects, interactive textual installations, or interactive cinema.
Article
Full-text available
Partendo dalla teoria dell'homo ludens di Huizinga, il caso di studio che propongo è SEPHIROT-IL GIOCO©, il metodo di creazione di performance interattive da me creato nel 2018 dopo un attento studio delle strutture narrative ipertestuali. Il progetto nasce per valorizzare la presenza del pubblico in sala, in quanto "co-creatore" dell'opera, permettendo l'applicazione delle più recenti tecnologie di AR e VR su strutture testuali algoritmiche anche tramite online streaming. La mia intenzione è quella di ribaltare la struttura dello spettacolo tradizionale e permettere al pubblico di cambiarne la forma attivamente. La correlazione tra Teatro e Gioco non è nuova, ma sono evidenti le resistenze di alcune visioni che vorrebbero che to play e recitare fossero due compartimenti stagni. Da queste riflessioni nasce la necessità di creare performance interattive strutturate secondo principi di interattività, ipermedialità, ipertestualità e proceduralità.
Article
Full-text available
This article is devoted to the problem of the ontological basis of modern physics. Citing the results of modern experiments in the field of quantum processes, the author insists on the need for their philosophical understanding. In addition, the author gives the opinion of modern philosophers, as well as the founders of quantum theory about the difference between quantum realism and the classical one. The article shows the need to interpret modern scientific data using some of the basic concepts of Western metaphysics. These are found in the writings of Plato and Aristotle, first and foremost, we are talking about the concept of "opportunities" (δύναμις), "reality" (ἐνέργεια), "idea", or the "image" (εἴδος). The connection between the philosophy of these thinkers and the philosophy of the XX–XXI centuries is stated. (Heidegger M., Antipenko L. G., Ivanov E. M.) and substantiates the need to turn to Western metaphysics in search of an answer to the question of what the Being is. This question is postulated as the initial question of metaphysics, in accordance with the interpretation of M. Heidegger. The difference between the object of study of modern physics (φύσις – in the modern sense) and Western metaphysics (φύσις + ἀρχή as Alphas) is explained.
Article
Full-text available
How to Read Board Games: The Similarities between Narrative-Oriented Board Games and Hypertext Novels In Storytelling in the Modern Board Game: Narrative Trends from the Late 1960s to Today, Marco Arnaudo describes how board games can create narratives by using the tools that ludology and postclassical narratology provide. The way narratives emerge from tabletop games is extremely unique and interactive: they are created through the synergy of the game rules, material components, and actions undertaken by players. Board games, treated as transmedial narrative systems in which the text is entangled in various relations with images, sounds, or the ludic aspects of games, can become an area of research in literary studies. The aim of this paper is to demonstrate that a scholar can effectively use knowledge of hypertext novels or ergodic literature to study narrative-oriented board games.
Article
Full-text available
The main aim of the study was to explore the factors influencing digital reading behavior of students. A survey with stratified random sample of 588 postgraduate students from the teaching departments of the universities in Kerala was used to conduct the study. The analysis revealed that majority of the students opined that with the availability of laptop, mobile phone and the Internet, their digital reading increases. There exists significant gender difference in the opinion of the students about the features like save, download, search, find and bookmark that helped them to read digitally. About half of the students mentioned that the factors like font size, text layout, type face and background colour are highly influencing while reading digitally. The students also responded that digital reading increases their selective reading, superficial reading, interactive reading, and decreases their in-depth reading, concentrated reading and sustained attention. Male students have significantly higher influence of e-resources on their reading practices than those of female students. This study is useful for professionals who are developing e-contents, e-resources and different types of e-learning interfaces
Article
Full-text available
For Socrates the act of communication is grounded in the world of original forms, archetypes, or abstract ideas. These ideas exist independently of the human mind and reflect a reality that is truer than the world of everyday experience. The task of the speaker is to draw the listener closer to the truth of these ideas, and this requires an intimate coupling of the form of speech to the character of the listener. In Phaedrus, Socrates explains, ". . . a would-be speaker must know how many types of soul there are. The number is finite, and they account for a variety of individual characters. When these are determined one must enumerate the various types of speech, a finite number also." The types of soul must then be carefully paired with the types of speech. This theoretical knowledge by itself, however, is not sufficient. A speaker must also know when ". . . he has actually before him a specific example of a type which he has heard described, and that this is what he must say and this is how he must say it if he wants to influence his hearer in this particular way" (Plato 91-92). Thus, the aspiring speaker must sharpen his powers of observation. Exactly how a speaker goes about discerning the various types of souls in his audience is not discussed in Phaedrus, but one assumes it is by mastering the art of face reading, or physiognomy. The science of physiognomy was of particular importance to the ancient Greeks. Nearly all the well-known Greek writers had something to say about the subject. Pythagoras is claimed to be the first Greek to formalize it systematically as a science. Hippocrates wrote voluminously on the subject, as did Aristotle. Socrates not only recommended physiognomy to his students (Tytler) but he is also reported to have demonstrated his facility with the science at least twice: once in predicting the promotion of Alcibiades and once upon first meeting Plato, whom he immediately recognized as a man of considerable philosophical talent (Encyclopedia Britannica). Writing is inferior to speech, Socrates tells Phaedrus, precisely because it cannot see and adapt the message to the reader. Like a painting of an object, writing is merely the image of dissociated speech. What is missing in writing-and what writing seems ever intent on reconstructing-is the human face. Pressing Faces Behind the Typeface Although physiognomy was banned by the Church, as it was associated with paganism and devil worship (practitioners of the science were burnt at the stake), it was revived in the Renaissance and became an obsession with the advent of the printing press. The printing press heralds democracy. But as human rights grew, urban centers developed, and new professions and classes emerged, people were no longer able to divine their own destiny or to predict the behavior and destiny of others. It became imperative to find other more reliable means of identifying the good and the bad, the talented and the unremarkable. Two books were considered indispensable: the Bible and Lavater's Essays on Physiognomy (Juengel). Physiognomy was the science that helped people decipher class and profession. It became the spelling book of character, one that people diligently studied so that they could learn to read not only the marks of character in others but also the signs of talent and potential in their own faces and in the faces of their children. Face reading was egalitarian and leveling (Juengel). The heads of state could be read and debunked in the flourishing art of caricature, and people delighted in decoding the physiognomy of the ordinary faces that crowded the pages of the popular press. The populace applauded the artists that succeeded in revealing the whole spectrum of a character-class, intentions, profession-in the masterly strokes of the pen (Wechsler). Unfortunately, so intense was the interest in face reading that many people were forced to cover their faces when out in public (Zebrowitz). Inside the religious, medical, educational, and criminal justice institutions, authorities scanned faces to identify the virtuous and the vile. People were hanged because of the shape of their jaws ("A physiognomic auto-da-fé,") and sometimes convicted of crimes because of an unfortunate physiognomy, even before any crimes were committed (Lichtenberg. 93). Mass Consumption of the Face Open a magazine. What do you see? I counted over 200 faces in the September 15, 2003 issue of Newsweek, 120 faces in the September 29, 2003 issue of Forbes, 124 faces in the September 15, 2003 issue of Time, and 37 faces in the November, 2003 issue of Handgunner (I included the masked faces). Whereas, in the 19th century, face reading was used by the religious, medical, and criminal justice authorities to identify a person's character, in the modern world face reading becomes face righting. Early in the century, people came to be viewed less as individuals than as masses that were dynamically statistical with fluctuations of opinions and tastes that could be sampled and manipulated. It quickly became apparent to the behemoth advertising industry that was erected with the advent of mass media that product designs and packages could be collated with viewer reactions. The audience is scrutinized, labeled, and targeted. What people are fed are fleshless images of themselves. Horkheimer and Adorno have observed that the media have reduced the individual to the stereotype. Stereotypes package people, typically in unflattering boxes. Mediated faces are used to mirror, to prime, and to manipulate the audience (Kress and van Leeuwen). On television and in print, images of canned faces proliferate. Not all stereotypes are unsavory. Nothing recommends itself nor sells like a beautiful face, but even beautiful faces must be retouched, even recomposed from features extracted from databases of perfect facial features. So important is the image of the face that media icons routinely visit the plastic surgeon. Michael Jackson is the most extreme example of what has been derogatorily termed a "scalpel slave." Plastic surgery is not exclusive to celebrities; countless millions of ordinary Americans feel compelled to undergo various cosmetic surgeries. The 20th-century consumption of the face has ended by consuming the face. Facing the Face Interface Text has made a comeback in hypertext. Empowered by the hyperlink, readers have become writers as they assemble texts with the clicks of a mouse (Landow). Electronic texts are pushed as well as pulled. Businesses have learned to track and to query users, building individual profiles that are then used to assemble personalized pages and email messages. Socrates' objection that writing is unable to perceive the reader no longer holds. The virtual text is watching you. And it is watching you with virtual eyes. There is a growing interest in developing face interfaces that are capable of perceiving and talking. The technical requirements are enormous. Face interfaces must learn to make eye contact, follow speaking faces with their eyes, mirror emotion, lip synch, and periodically nod, raise eyebrows, and tilt the head (Massaro). Face interfaces are also learning to write faces, to map rhetorical forms to the character of their interlocutors in ways Socrates could not have imagined. Socrates did not teach his students to consider the rhetorical effects of their faces: the speaker's face was thought to be fixed, a true reflection of the inner soul. Virtual faces are not so constrained. Smart faces are being developed that are capable of rendering their own appearances from within a statistical model of the users' impressions of faces. The goal is for these virtual faces to learn to design, through their interactions with users, facial appearances that are calibrated to elicit very specific impressions and reactions in others (Brahnam). Some people will disapprove of virtual faces. Just as the media use faces to manipulate the viewer and perpetuate facial stereotypes, smart faces run the risk of doing the same. Some may also worry that virtual faces will be attributed more intelligence and social capacity then they actually possess. Do we really want our children growing up talking to virtual faces? Can they satisfy our need for human contact? What does it mean to converse with a virtual face? What kind of conversation is that? For the present at least, virtual faces are more like the orators and bards of old. They merely repeat the speeches of others. Their own speech is nearly incomprehensible, and their grammatical hiccups annoyingly disrupt the suspension of disbelief. On their own, without the human in the loop, no one believes them. Thus, the virtual face appears on the screen, silently nodding and smiling. Not yet a proper student of classical rhetoric, it is much like the virtual guide at artificial-life.com that recently greeted her visitors wearing the following placard: A virtual guide that greeted visitors at artificial-life.com. Access date: October 2003. Works Cited Brahnam, Sheryl. "Agents as Artists: Automating Socially Intelligent Embodiment," Proceedings of the First International Workshop on the Philosophy & Design of Socially Adept Technologies, in conjunction with CHI 2002. Minneapolis, MN, 2002: 15-18. Encyclopedia Britannica. "Physiognomy." LoveToKnow Free Online Encyclopedia, 1911. Available: http://21.1911encyclopedia.org Horkheimer, Max, and Theodor W. Adorno. Dialectic of Enlightenment. Trans. John Cumming. New York: Seabury, 1944. Juengel, Scott Jordan. "About Face: Physiognomics, Revolution, and the Radical Act of Looking." Ph.D. dissertation. University of Iowa, 1997. Kress, Gunther, and Theo van Leeuwen. Reading Images: The Grammar of Visual Design. London: Routledge, 1996. Landow, P. George. Hypertext 2.0: The Convergence of Contemporary Critical Theory and Technology. Baltimore: John Hopkins U P, 1997. Lavater, Johann Caspar. Essays on Physiognomy: For the Promotion of the Knowledge and the Love of Mankind. Trans. Thomas Holcroft. London: printed by C. Whittingham for H. D. Symonds, 1804. Lichtenberg. Quoted in Frey, Siegfried. "Lavater, Lichtenberg, and the Suggestive Power of the Human Face." The Faces of Physiognomy: Interdisciplinary Approaches to Johann Caspar Lavater. Ed. Ellis Shookman. Studies in German Literature, Linguistics, and Culture. Columbia, S.C.: Camden House, 1993. 64-103. Massaro, D. M. Perceiving Talking Faces: From Speech Perception to a Behavioral Principle. Cambridge, MA: MIT P, 1997. Plato. Phaedrus and the Seventh and Eighth Letters. Trans. Walter Hamilton. London: Penguin, 1973. Tytler, Graeme. Physiognomy in the European Novel: Faces and Fortunes. Princeton, N.J.: Princeton U P, 1982. Wechsler, Judith. A Human Comedy: Physiognomy and Caricature in 19th Century Paris. London: U of Chicago P, 1982. Zebrowitz, Leslie A. Reading Faces: Window to the Soul? Boulder, Col.: Westview, 1998. Web Links http://vhost.oddcast.com/vhost_minisite/ http://mrl.nyu.edu/~perlin/facedemo/ http://www.faceinterfaces.com http://www.artificial-life.com Citation reference for this article MLA Style Brahnam, Sheryl. "Type/Face" M/C: A Journal of Media and Culture <http://www.media-culture.org.au/0401/04-brahnam.php>. APA Style Brahnam, S. (2004, Jan 12). Type/Face. M/C: A Journal of Media and Culture, 7, <http://www.media-culture.org.au/0401/04-brahnam.php
Article
Full-text available
The main aim of the study was to explore the factors influencing digital reading behavior of students. A survey with stratified random sample of 588 postgraduate students from the teaching departments of the universities in Kerala was used to conduct the study. The analysis revealed that majority of the students opined that with the availability of laptop, mobile phone and the Internet, their digital reading increases. There exists significant gender difference in the opinion of the students about the features like save, download, search, find and bookmark that helped them to read digitally. About half of the students mentioned that the factors like font size, text layout, type face and background colour are highly influencing while reading digitally. The students also responded that digital reading increases their selective reading, superficial reading, interactive reading, and decreases their in-depth reading, concentrated reading and sustained attention. Male students have significantly higher influence of e-resources on their reading practices than those of female students. This study is useful for professionals who are developing e-contents, e-resources and different types of e-learning interfaces.
Article
Full-text available
Introduction au numéro co-dirigé par Côme Martin et Jean Sébastien sur la bande dessinée numérique
Article
Full-text available
This paper discusses two contemporary novels from a narratological perspective. The Unfortu-nates by B.S. Johnson and S. by J.J. Abrams and Doug Dorst demonstrate inapplicability of narrative most commonly theorised as a representation of events. Instead, due to their unconventional usage of typography, multimodality and/or transmediality, they provoke daring attempts at reconceptualisations of this fundamental concept of modern narrative theory and novel studies. In addition, the two novels exemplify an increasingly common trend in contemporary fiction of undermining the traditional understanding of the novel as a monomodal (exclusively verbal) work and self-contained, printed entity.
Chapter
The fourth layer of narrative in Interactive Narrative Systems (INS), such as games, is the players’ re-tellings of the stories they have experienced when playing. The occurrence of re-tellings can be considered as an indicator for a well designed INS and as an instrument of critique - the experiences of play are important and memorable to such a degree to the players that they find them worthy to tell others about. The notion of the fourth layer is added to the structural model of IN Systems having (1) a base architectural layer giving conditions for a (2) second layer of narrative design, while a (3) third layer is the narrative discourse - eg. the unique, session-specific played or traversed sequences of events. In relation to this, the Story Construction model is described.
Chapter
»Marcel wird Klempner.« – Diesen Satz von Gérard Genette (1994b, 202), habe ich meiner Dissertation (Neitzel 2000), die sich mit der Narrativität von Computerspielen auseinandersetzt, als Motto vorangestellt. Genette benutzt den Satz in Neuer Diskurs der Erzählung im Zusammenhang mit der Definition einer Minimalgeschichte. Stellt man ihn jedoch in den Zusammenhang von Narrativität und Computerspielen, so lassen sich daran viele der Problemfelder explizieren, die sich ergeben, wenn über Narration und Computerspiel nachgedacht wird.
Article
This article is a critique of the notion of ‘social inclusion’. It is argued that social inclusion requires a focus upon the development of ‘communities of learners’. For such communities to develop groups must have interests in common–they need to see themselves as ‘communities of interest’. They see each other as being valuable contributors to the group–they need to be ‘communities of equals’ and be prepared to engage with and contribute to open, critical discussion of ideas–they need to participate in ‘communities of dialogue’. The changes in ethos would be considerable: from a focus on learning as an individual activity to recognition of learning as a social activity requiring community development, which would involve moving from discussions about: Classes of students to communities of researchers: teachers would need to learn skills in promoting and participating in a research community, facilitating the identification of problems and introducing appropriate methods of studying those problems. Teaching organisations to learning organisations: teachers themselves developing the skills needed to facilitate communities of researchers, then ensuring that the organisational culture is flexible and responsive to the needs of the members of the communities of learners. Institutions of higher education to resource centres for learning: The main activities of such resource centres would be the identification of problems by communities of learners who could use the facilities to search for their solutions by designing their own programmes of learning within a negotiated curriculum. Such changes would lead to a complete deconstruction of present institutions of Higher Education.
Article
The counterpart to the open access to information facilitated by the Internet is the problem of the over-saturation of data and sources. A collaborative model of hypermedia is proposed as a pedagogical approach to the teaching of urban planning in which students organize and construct information from the possibilities provided by hypertext language. The methodology is structured in three phases: organization when searching for information; presentation of information using hypermedia; and assessment of the work. The results show that organization of information in the form of websites obtained the highest scores, although collaborative assessment should be restricted to subjective aspects of communication, while objective aspects should be assessed by the teacher and by groups of experts.
Chapter
Full-text available
This article identifies and discusses some key procedures adopted by Joyce in order to re-work and re-write his own texts; these procedures include "intertextual quotation" and "genetic intratextuality", which are exemplified with particular reference to Ulysses and Finnegans Wake.
Article
Despite the significance of mobile interactivity in business success, not much literature has focused on distinguishing mobile interactivity (m-interactivity) from interactivity via fixed broadband Internet (e-interactivity). Accordingly, the current study attempts to build a new conceptual framework for m-interactivity. We explore several comprehensive dimensions of interactivity, and identify four key dimensions of m-interactivity by conducting both exploratory factor analysis and confirmatory factor analysis. We establish the influence of m-interactivity on the consumer response variables of enjoyment, satisfaction, and loyalty, as well as the relationships among them.
Article
Full-text available
»The New Medium« challenges both history of literature and methodology. McLuhans unorthodox methods, and Luhmanns Systemtheorie rival in the methodology of a new history of literature, conceptualized as media history. The traditional concept of literature, in opposition to the world of audio vision, is questioned by the new »culture of the net«. »The net«, which is in fact text-ba-sed, forms not only a universal library, but also an endless show case. »Literature« in the net, and on the net is deliberatly missing the traditional »qualities« of the book. Thus a »literary history of the digital medium« can only offer some critical views on »chat« in the net, on new forms of text on screen, and on the re-evaluations ot rhetoric and ars combinatoria. The gap between the actual state of networking and the visions fo new domains of literature characterizes the age of the Neuromancers.
Chapter
Personal computers and the individualistic design of international computer networks are founded in Western concepts of democracy, interpersonal communication and freedom. Nonwestern countries which wish to maintain cultural autonomy while importing Western technology and providing their citizens with access to international networks, will need to provide this technology and access in culturally familiar forms. The development of user interface technology which masks the inherent Western-ness of computer networks is necessary if the technology is to be integrated into a nonwestern culture rather than integrating the culture into the technology.
Chapter
While we believe that an appropriate form of polymodal education involves non technologized practices, digital technologies are a necessary component of learning in the 21st century. Teachers must be effective users of technology, combining functional and critical abilities to become reflective consumers/producers of digital content. Thus, teachers and students can fully participate in the dominant computer culture while avoiding indoctrination into its value systems of consumerism and the technocracy described in chapter one.
Chapter
The teaching of modern languages was deeply influenced by a classical paradigm: grammar and literature were at the core of language teaching. This was backed by a very simple argument: we study grammar in order to read the classical texts. The moment modern languages appeared on the curriculum, teachers started imitating the methodology of the respectable curriculum of Latin and Greek. The grammar-translation method was (and still is) a major methodology in language teaching. ‘High’ culture is at the core of this methodology. A classical education was considered the best training for a cultural elite “to control the twin excesses of grasping businessmen and unruly industrial proletarians” [1:21].
Article
This paper outlines the historical development and methodological challenges of digital visual studies using as a case study the German Expressionist Franz Marc. Although it has been a given that the strength of computer-based art historical research lies in formal rather than subjective analysis, in practice the iconographic encoding of images and the collection of metadata shows that this is not necessarily the case. Digital Art History encompasses a broad spectrum of formal and iconographic as well as reception-based studies. In the case of Franz Marc, the digital humanities can help to establish critical reflection about an artist whom, it turns out, not all that much is known particularly and paradoxically in terms of the animal images that are his most famous work, and to more broadly evaluate the implications of our “unknowledge” as a core issue for the digital humanities and for all humanities scholarship.
Article
Full-text available
Este estudo analisa o uso do hipertexto como forma de interação em materiais didáticos produzidos para a cursos na modalidade da Educação a Distância (EaD). A problemática discutida pode ser resumida no seguinte: quais recursos hipertextuais devem ser considerados na produção dos materiais didáticos digitais? Considera-se o objetivo geral deste estudo o levantamento qualitativo quanto ao uso dos elementos hipertextuais em materiais didáticos digitais, produzidos para os cursos na modalidade de EaD, como forma de interação. A metodologia utilizada foi de abordagem qualitativa, dividida em duas fases. A primeira fase foi um estudo exploratório e a segunda uma análise documental dos materiais de duas instituições. Os resultados apontam para o uso do hipertexto potencial e colaborativo, não se observou o uso do hipertexto cooperativo.
Chapter
Einen Überblick über medienwissenschaftliche Ansätze in der Literaturwissenschaft zu geben, ist zum einen schwieriger als eine Skizze der kulturwissenschaftlichen Ansätze, weil einige der Positionen noch weniger klar sind und den Namen gebenden Begriff ›Medien‹ programmatisch unscharf verwenden — genauer gesagt als polyseme Bezeichnung tatsächlich unterschiedlicher Forschungsgegenstände. Zum anderen ist der Verbreitungsgrad dieser vielfältigen Richtung aber kleiner: Die besondere Differenzierung medientheoretischer Positionen in der Literaturwissenschaft ist vor allem ein deutschsprachiges Phänomen.
Chapter
ResearchGate has not been able to resolve any references for this publication.