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Journal articles on the topic 'Hypertext fiction'
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1
Miller, Ludmila V., and Nina L. Fedotova. "MODEL OF TEACHING FOREIGN STUDENTS FOR THE PERCEPTION OF FICTION MEANINGS WITH THE USE OF EDUCATIONAL FICTION HYPERTEXT." Proceedings of Southern Federal University. Philology 27, no. 1 (March 31, 2023): 118–30. http://dx.doi.org/10.18522/1995-0640-2023-1-118-130.
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The relevance of the study is due to the fact that in recent years human relation with information flows have changed. The thinking and perception of meanings, especially by the younger generation, also begin to change noticeably. In this regard, the communication of an individual with a literary text presented in digital format deserves more attention. The purpose of the study is to create a model of learning to read this type of text, taking into account the features of a literary hypertext, which will optimize the process of learning to read a literary text in a foreign language. As an example of methodical processing of an autonomous educational hypertext, an excerpt from the story "Scar" by E. Grishkovets was used. In the process of developing a model for teaching foreigners to read literary hypertext, the following methods were used: analytical (linguocultural and linguocognitive analysis), interpretation method and modeling. In the study were compared such concepts as “literary text”, “hypertext”, “electronic hypertext” and “educational fiction text”. Literary hypertext is a traditional text, but it is organized in a different way than a linear text, so when it is perceived, specific perception mechanisms operate. The definition of educational literary hypertext in the aspect of teaching Russian as a foreign language is given; the linguodidactic potential of hypertext in relation to the teaching of Russian as a foreign language is revealed, the algorithm for working with Russian-language literary hypertext in a foreign audience is substantiated. It is assumed that educational hypertext as a new way of artistic communication can exist in two forms: network hypertext and autonomous hypertext. It is concluded that a methodically processed literary text, presented as a hypertext, makes it possible to optimize the process of teaching foreign students to read literary works in Russian. The prospects for the study are seen in the creation of an electronic manual for teaching foreign students to read the works of Russian writers based on the proposed model.
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Pope, James. "A Future for Hypertext Fiction." Convergence: The International Journal of Research into New Media Technologies 12, no. 4 (November 2006): 447–65. http://dx.doi.org/10.1177/1354856506068368.
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Brooker, Sam. "Is There an Author in This Labyrinth?" ACM SIGWEB Newsletter 2023, Winter (December 2022): 1–6. http://dx.doi.org/10.1145/3583849.3583852.
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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?
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Mangen, Anne. "Hypertext fiction reading: haptics and immersion." Journal of Research in Reading 31, no. 4 (November 2008): 404–19. http://dx.doi.org/10.1111/j.1467-9817.2008.00380.x.
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Segal, E. "The Possible Worlds of Hypertext Fiction." Poetics Today 32, no. 3 (September 1, 2011): 614–16. http://dx.doi.org/10.1215/03335372-1375225.
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Owen, M. "Illusions of Democracy in Hypertext Fiction." Genre 41, no. 3-4 (January 1, 2008): 177–200. http://dx.doi.org/10.1215/00166928-41-3-4-177.
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Atzenbeck, Claus. "Interview with Mariusz Pisarski." ACM SIGWEB Newsletter 2024, Winter (January 2024): 1–5. http://dx.doi.org/10.1145/3643603.3643606.
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Dr Mariusz Pisarski is a hypertext scholar, translator, publisher, the chief editor of "Techsty"---a Polish journal on new media and literature. He teaches creative writing, hypertext, Twine and non-linear storytelling. His translation and media translation projects include Polish editions of Michael Joyce's hypertext fictions, poetry generator "Sea and Spar Between" by Stephanie Strickland and Nick Montfort and "Hegirascope" by Stuart Moulthrop. Recently he has created the online English edition of "Twilight. A Symphony" (2022) by Michael Joyce. His forthcoming publication is "The Challenges of Born-Digital Fiction: Editions, Translations, and Emulations" (co-authored with Dene Grigar) by Cambridge University Press. He is an assistant professor at Chair of Media and Journalism, University of Information Technology and Management in Rzeszów, Poland and the secretary of Electronic Literature Research Center at Adam Mickiewicz University, Poznań.
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Joyce, Michael. "Nonce Upon Some Times: Rereading Hypertext Fiction." MFS Modern Fiction Studies 43, no. 3 (1997): 579–97. http://dx.doi.org/10.1353/mfs.1997.0061.
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Towle, Brendon, and Wolff Dobson. "A framework for coherent hypertext fiction (abstract)." ACM SIGWEB Newsletter 5, no. 2 (June 1996): 26. http://dx.doi.org/10.1145/231738.232603.
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Rustad, Hans K. "A Four-Sided Model for Reading Hypertext Fiction." Hyperrhiz: New Media Cultures, no. 6 (October 2009): 1. http://dx.doi.org/10.20415/hyp/006.e01.
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Thomas, Bronwen. "Stuck in a Loop? Dialogue in Hypertext Fiction." Narrative 15, no. 3 (2007): 357–72. http://dx.doi.org/10.1353/nar.2007.0021.
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Alagiya, Kavisha. "Exploring the Potential of Twine Fiction as an Interactive Learning Tool for Literature Education: A Case Study of Girish Karnad's Naga-Mandala." Vidhyayana 9, si1 (December 1, 2023): 83–90. http://dx.doi.org/10.58213/vidhyayana.v9isi1.1584.
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Twine fiction is a digital genre of literature that allows for multiple paths through a narrative, with readers choosing their own adventure as they click through links and explore different threads. By using the latest type of hypertext (twine) as an interactive model in narrating a text, readers can engage with the story in a way that is more immersive and interactive than traditional linear narratives. The paper aims to explore the use of Twine Fiction platform as an interactive model in narrating a text. It also tries to investigate the ways in which it can be used to help students engage with and learn from literature in new ways. This paper aims to examine the potential of twine fiction as a tool for educators to engage students with literature in new and innovative ways. Girish Karnad’s text ‘Naga-Mandala’ has been opted for this reference as to illustrate the interactive learning materials that provide students with a more engaging and meaningful reading experience. This is particularly relevant in the digital age, where students are increasingly accustomed to interactive and multimedia forms. By using hypertext (twine fiction) to teach literature, educators can create materials that are both fun and challenging, engaging students in critical thinking and analysis. Hypertext can also be used to teach literary elements, such as point of view, theme, and symbolism, by allowing students to explore different paths through the narrative and draw connections between different threads. The paper further argues that a traditional text converted into twine fiction has the potential to revolutionize the way that literature is taught and learned.
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Emmanuel, James. "The Possible Worlds of Hypertext Fiction. By Alice Bell." European Legacy 17, no. 3 (June 2012): 406–7. http://dx.doi.org/10.1080/10848770.2012.673346.
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Morkvina, Elena A. "Narrative structure of the gamebook as a hypernarrative." Vestnik Tomskogo gosudarstvennogo universiteta. Filologiya, no. 81 (2023): 113–31. http://dx.doi.org/10.17223/19986645/81/6.
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The article describes the research of the narrative structure of gamebooks as an example of hypertext fiction. The aim of the research is to analyse the storyline of Raymond Queneau’s gamebook “A Story of Your Own” as a literary hypertext narrative, to define the peculiarities of its structural organization and to come up with a narrative scheme of the gamebook. The methodology of the research is based on the narrative analysis predicated by the invariant narrative scheme offered by William Labov and Joshua Waletzky. The research novelty lies in the fact that for the first time a narrative analysis of a book-game is carried out taking into account its narrative and hypertext characteristics and the hypernarrative structure of a bookgame is described and presented in the form of a scheme. The article dwells on the notions of the narrative, its prototype form and hypertext narrative as being a combination of hypertext and narrative. The author also defines the conception of the hypertext gamebook, follows its evolution. As a result of the analysis of Raymond Queneau’s minimalistic gamebook, the author identifies following isomorphic characteristics of a gamebook: nonlinearity and variation of the plot structure, fragmentarity and interactivity (the dialogue between the author, the reader and the text). The gamebook narrative structure utilizes all the narrative components (Abstract, Orientation, Complicating Action, Evaluation, Resolution, Coda), but there are some deviations from the scheme of the prototype linear narrative such as the combination of all narrative components in one, the substantial repetition of a component, the implementation of a component in a different textone, elimination, the presence of narrative polycomponents and their discontinuity, the implementation of a new component of Evaluation by the reader. All these deviations fulfil their definite functions inherent in the game-book. The gamebook structural abnormities are explained by the hypertext strategy of the narration and by interactivity. They create a new fiction space with numerous textual branches, make it possible to expand and to restrict the framework of the narration, boost the narrative dynamics and encourage readers’ activity. As a result of the research, the gamebook narrative scheme has been devised and described. This scheme includes potential authorial variations and it can be applied as the basis for the analysis of all kinds of hypertext narratives.
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Krevel, Mojca. "Remediating the remediated : printed prose in the age of hypertext." Acta Neophilologica 39, no. 1-2 (December 1, 2006): 71–83. http://dx.doi.org/10.4312/an.39.1-2.71-83.
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The article argues that with the spreading of computer hypertext into the social sphere, hypertext is no longer merely a writing technique or an organising principle; it becomes the logic implicit in the functioning of postmodern societies.lts actualisation can be performed via any medium-TV, internet, radio or print. Based on instances from 1990s and early 2000s printed American fiction, the paper examines the ways in which print already is hypertextual, and attempts to provide an insight into the future of printed literature in an era no longer governed by the Modem Age principles and paradigms.
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Mironova, K. V. "Enhancing understanding of A. S. Pushkin’s lyrics during testing and teaching activities using educational hypertext." Russian language at school 85, no. 3 (May 21, 2024): 26–37. http://dx.doi.org/10.30515/0131-6141-2024-85-3-26-37.
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The article discusses the current issue of methodological support for a Russian language lesson designed in line with the linguoconceptocentric approach. The research aims to justify the feasibility and the way of employing the hypertext journey method in the language education of secondary school students. Understanding hypertext as a non-linear text with hyperlinks, the author indicates its didactic purpose, i. e. to create conditions for students to receive additional information, audiovisual materials that contribute to the understanding of the linguistic concept(s) of the source text. Based on the analysis of scientific, methodological, and philological experience, texts of different genres, students’ creative works in conjunction with empirical research, a hypertext journey model was developed. It is as follows: a linguistic concept – the main (source) text – reference materials characterising the semantic fields of the word-concept (such as comments, dictionary entries) – aphorisms, proverbs – conceptually (thematically, ideologically, axiologically) related texts – works of audiovisual arts – own text (a conceptocentric essay). The paper describes didactic material, i. e. hypertext. It is comprised of fragments of literary (prose and poetic) and non-fiction texts united ideologically, axiologically, and thematically (conceptually). Such texts are characterised by linguistic importance and philosophicality which are subjected to interpretive, philological, and conceptual analysis. Attention is given to the technique of hypertext composition. The research determines the stages in following the hypertext journey method in the classroom: from presenting a concept to writing a conceptocentric essay. Testing carried out on the example of the hypertext journey ‘Art’ shows that this method significantly enhances schoolchildren’s semantic basis. Moreover, it helps them structure their art knowledge system, provides material for students’ own creative works, teaches them to use what they read as an argument in an argumentative text, and promotes speech development. As a result, this method enriches schoolchildren’s conceptual sphere.
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Bogdanova, E. S. "Hypertext journey as a method for working on secondary school students’ conceptual sphere and speech in Russian language lessons." Russian language at school 85, no. 3 (May 15, 2024): 7–16. http://dx.doi.org/10.30515/0131-6141-2024-85-3-7-16.
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The article discusses the current issue of methodological support for a Russian language lesson designed in line with the linguoconceptocentric approach. The research aims to justify the feasibility and the way of employing the hypertext journey method in the language education of secondary school students. Understanding hypertext as a non-linear text with hyperlinks, the author indicates its didactic purpose, i. e. to create conditions for students to receive additional information, audiovisual materials that contribute to the understanding of the linguistic concept(s) of the source text. Based on the analysis of scientific, methodological, and philological experience, texts of different genres, students’ creative works in conjunction with empirical research, a hypertext journey model was developed. It is as follows: a linguistic concept – the main (source) text – reference materials characterising the semantic fields of the word-concept (such as comments, dictionary entries) – aphorisms, proverbs – conceptually (thematically, ideologically, axiologically) related texts – works of audiovisual arts – own text (a conceptocentric essay). The paper describes didactic material, i. e. hypertext. It is comprised of fragments of literary (prose and poetic) and non-fiction texts united ideologically, axiologically, and thematically (conceptually). Such texts are characterised by linguistic importance and philosophicality which are subjected to interpretive, philological, and conceptual analysis. Attention is given to the technique of hypertext composition. The research determines the stages in following the hypertext journey method in the classroom: from presenting a concept to writing a conceptocentric essay. Testing carried out on the example of the hypertext journey ‘Art’ shows that this method significantly enhances schoolchildren’s semantic basis. Moreover, it helps them structure their art knowledge system, provides material for students’ own creative works, teaches them to use what they read as an argument in an argumentative text, and promotes speech development. As a result, this method enriches schoolchildren’s conceptual sphere.
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Selig, Robert L. "The Endless Reading of Fiction: Stuart Moulthrop's Hypertext Novel "Victory Garden"." Contemporary Literature 41, no. 4 (2000): 642. http://dx.doi.org/10.2307/1209006.
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Bondarenko, Mariia. "Non-linearity and/in Translation: On Complex Strategies in the Ukrainian Rendition of Joyce’s Novel-Hypertext “Ulysses”." Respectus Philologicus 35, no. 40 (April 23, 2019): 195–210. http://dx.doi.org/10.15388/respectus.2019.35.40.14.
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By positing that translation is the main manifestation of “interliterarity” (in D. Ďurišin’s conceptualization) that brings to the fore the meta-creational capacities of the target literature, the present article attempts (1) to study a translatability potential of a hypertext as based on the Ukrainian translation of James Joyce’s novel-hypertext Ulysses, and (2) to justify the role of its reception in the Ukrainian literary field as a force for language and culture development. The synthesis of a “verbal music” with a mosaic of texts and narratives – imitated, playfully transformed or directly quoted – is claimed to be a key source of hypertextuality in Ulysses. In this line of reasoning, the paper particularly focuses on (1) the role of both overcoming cultural barriers and leaving a space for reader’s co-creativity while transferring of intertexts; (2) the approaches to interpretation of parody and pastiche as forms of writing-as-translation practice; (3) J. Wawrzycka’s concept regarding translation of musicalized fiction as trans-semantification, i. e. attending to literariness of the text; (4) the idea of translator’s visibility attributed to the Ukrainian re-languaging of musicalized fiction.
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Kuchina, S. A. "POLYCODE STRUCTURE OF ELECTRONIC HYPERTEXT FICTION: CORRELATION OF VERBAL AND NONVERBAL ELEMENTS." Tomsk state pedagogical university bulletin, no. 9 (2017): 178–82. http://dx.doi.org/10.23951/1609-624x-2017-9-178-182.
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Jordan, Spencer. "‘An Infinitude of Possible Worlds’: Towards a Research Method for Hypertext Fiction." New Writing 11, no. 3 (July 10, 2014): 324–34. http://dx.doi.org/10.1080/14790726.2014.932390.
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Luce-Kapler, Rebecca. "Fragments to Fractals: The Subjunctive Spaces of E-Literature." E-Learning and Digital Media 4, no. 3 (September 2007): 256–65. http://dx.doi.org/10.2304/elea.2007.4.3.256.
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This article chronicles the experience of two writers working in digital technologies to write fiction. One writer, the author of the article, describes how her experience writing with the software Storyspace influenced her writing of print fiction, changing her processes and challenging her notions of genre. The other writer, a 16-year-old secondary student, also wrote with Storyspace. While she did not find the form as challenging as the first writer, she followed similar processes of creation. The author compares the possibilities of digital and print text writing and suggests that there are different potentials. She also suggests that moving from a metaphor of fragments to fractals when thinking of hypertext writing may be a productive way to consider digital literary work.
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Basaraba, Nicole. "A communication model for non-fiction interactive digital narratives: A study of cultural heritage websites." Frontiers of Narrative Studies 4, s1 (November 22, 2018): s48—s75. http://dx.doi.org/10.1515/fns-2018-0032.
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AbstractInteractive digital narrative (IDN) is an umbrella term used to encompass the various formats of digital narrative such as hypertext fiction, transmedia stories, and video games. The study of IDNs transverses the disciplines of narratology, game studies, and media studies. The main question this article addresses is how does the digital medium affect narrative in cultural heritage websites? This question is examined by proposing a new communication model that considers the role of digital media — the Creator-Produser Transaction Model — and adapting existing “tools” of narrative analysis into a “narratological toolkit” for the study of non-fiction IDNs. The transaction between creators and produsers and how an IDN narratological toolkit can be applied are exemplified through the analysis of three cultural heritage websites: Open Monuments (“Otwarte Zabytki”), Belgian Refugees of 1914–1919, and Storymap.
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Suh, Kyungsook. "Case Studies of Digital Humanities Pedagogies for Literature Classes: Focused on Hypertext Fiction Writing." Modern Studies in English Language & Literature 61, no. 4 (November 30, 2017): 167–86. http://dx.doi.org/10.17754/mesk.61.4.167.
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Wróbel, Łukasz. "Diegetyczne uspójnienie systemu nauk. O Nowej Atlantydzie Francisa Bacona." Białostockie Studia Literaturoznawcze, no. 19 (2021): 149–69. http://dx.doi.org/10.15290/bsl.2021.19.08.
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The article interprets New Atlantis by Francis Bacon and reads it as a hypertext of Instauratio Magna, the project of restoration of sciences, which the philosopher failed to carry out fully. The author seeks to discover the interrelations between the discursive, rhetorical and literary modes of writing that shaped the early stages of modern science. In his opinion, empirical science does not establish its starting point only with its own new instruments, but it also deploys contemporary patterns of narrative fiction (for example, the modal frame of travel story) and rhetorical probability (also allegory). The power of this composite renders its own origin coherent.
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Думанаева, Назира. "К ВОПРОСУ ИЗУЧЕНИЯ И АНАЛИЗА ПЕРСУАЗИВНОСТИ В РУССКОМ И КЫРГЫЗСКОМ ЯЗЫКАХ." Vestnik Bishkek Humanities University, no. 50 (January 15, 2020): 37–40. http://dx.doi.org/10.35254/bhu.2019.50.19.
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Аннотация. Изменения в системе современной литературной коммуникации обусловливают необходимость изучения ее структуры в условиях глобализации. В этой связи перспективным представляется выход за пределы собственно художественного текста и исследование его в аспекте гипертекстуальности. Данная статья посвящена истории, характеристике и изучению персуазивности, составляющей одну из модусных категорий как форм осмысления мира в языке. Установлено, что основные лексико-грамматические средства экспликации персуазивности в русском и кыргызском языках традиционно рассматриваются в составе модальных слов, конструкций. Также целью статьи стало изучение результатов исследования лингвистов по данной теме и выявление особенностей экпликации категории персуазивности в художественном тексте. В данной статье на основе анализа художественных текстов русского писателя В. Шукшина и кыргызского прозаика А. Саспаева выявлен прагмалингвистический потенциал категории персуазивности в русском и кыргызском языках. Ключевые слова: персуазивность, модус, модальность, экспликация, метакатегории, актуализационные категории, квалификативные категории, социальные категории, прагмалингвистический потенциал. Аннотация. Азыркы адабий байланыш өзгөрүүлөр глобалдаштыруу шарттарында, анын структурасын изилдөө талап болууда. Бул жагынан алып караганда, толугу менен көркөм тексттин тармагында изилдөө келечектүү. Бул макалада ынанымдуулуктун тарыхы, типтештирүүсү жана изилдөөсү көрсөтүлөт. Изилдөөдөн көрсөтүлгөндөй орус жана кыргыз тилиндеринде ынанымдуулук категориясы негизги лексикалык жана грамматикалык каражаттары модалдык сөздөр болуп эсептелет деп табылган. Ошондой эле, макаланын максаты тил илимпоздордун ушул тема боюнча изилдөөлөрүн, алардын жыйынтыктарын окуу жана адабий тексте ынынымдуулук категориянын ачылышынын өзгөчөлүктөрүн аныктоо болгон. Макалада орус жазуучусу В. Шукшиндин жана кыргыз эл жазуучу- су А. Саспаевдин адабий тексттердин талдоонун негизинде ынанымдуулук категориянын прагмалингвистикалык потенциалы аныкталды. Түйүндүү сөздөр: ынанымдуулук категориясы, модус, метакатегориясы, экспликация, актуализациалдык категориясы, квалификативдик категориясы, социалдык категориясы, прагмалингвистикалык потенциалы. Abstract. Globalization has affected all aspects of human life. Consequently, the structure of literary communication has been changed as the number of supplementary texts originated from a basic fiction text has increased. In this connection, it seems rational and fruitful to study the fiction text considering its hypertextual dimension. The aim of the work is to analyze the recurrent text formation components of russion and kyrgyz hypertext performing the advertising function. The study was based on the texts of praise for fiction books by russion and kyrgyz authors: V. Shukshin and A. Saspaev. The content analysis was applied to study their qualitative characteristics. Key words: hypertext, literary communication, praise, blurb, persuasion, ideonim, book title.
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Bell, Alice, and Astrid Ensslin. ""I know what it was. You know what it was": Second-Person Narration in Hypertext Fiction." Narrative 19, no. 3 (2011): 311–29. http://dx.doi.org/10.1353/nar.2011.0020.
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Ciancia, Mariana, and Giulio Interlandi. "Enactive Experience for Streaming Media Services." Interactive Film & Media Journal 2, no. 3 (June 23, 2022): 142–57. http://dx.doi.org/10.32920/ifmj.v2i3.1514.
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Since the beginning of humankind, storytelling enabled people to understand and shape their impressions of reality. Depicted by Walter R. Fisher, the narrative paradigm encounters the ubiquitous computing dimension, as proposed by Mark Weiser (Fisher 1984, Weiser 1991), that results in the interdisciplinary field of Interactive Digital Narrative (IDN). Departing from the first text-based experimentation in the late 1970s, IDN can be considered a vibrant field wherein different forms of interactive artifacts derived such as Hypertext Fiction, Interactive Installations, Video Game Narrative (Koenitz et al. 2015), and Enactive Cinema (Tikka 2006, 2008). IDN presents a field of inquiry prevailing for over three decades, but the question remains: is it supposed to be strictly entertainment or something else? In response, this paper explores the possibility of implementing an enactive paradigm to design a tailored experience for streaming media services, thus proposing a conceptual, methodological framework for designing a system to be prototyped and tested in accompanying research.
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Sołodki, Paweł. "Digital docu-games, czyli cyfrowe gry dokumentalne." Panoptikum, no. 24 (October 20, 2020): 10–27. http://dx.doi.org/10.26881/pan.2020.24.06.
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In this paper, I would like to take a closer look at the hybrid genre of digital documentary (“docu-game”), which is part of a larger group, the so-called “serious games”. Documentary games are both game-specific (rules, levels, opponents, measurable progress, rewards, etc.), and are also strongly based on the facts, playing educational and activist roles. They can be available through browsers, similar to hypertext websites, but are often designed for stationary or mobile consoles. In terms of genres, a significant range can also be observed: platform games, like Never Alone (2014, E-Line Media), adventure games: Valiant Hearts: the Great War (2014: Ubisoft) or 1979 Revolution (2014, N-Fusion), strategic games: This War of Mine (2014, 11bit studios), RPG (educational mode in Assassin’s Creed: Origins [2017] and Assassin’s Creed: Odyssey [2018]), or even survival horror: Kholat (2015, IMGN.PRO). The titles I describe present different approach to factual sources: they add documentary footage as cutscenes (Never Alone), they build narration around real events and characters, and make the player’s avatar a fictional character (1979 Revolution), they base the game mechanics on the logic of events in well-defined real circumstances (This War of Mine). Since the works based on a genre-specific hybrid strategy occupy an important place in today’s audiovisual landscape, I think it would be worth further examining this “incompatible” area: a documentary, traditionally combined with truth and seriousness, and digital games, usually associated with fiction and entertainment.
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Marco Martínez, María, and Darío Bañón Olivares. "Cambiemos la historia. Una creación hipertextual basada en las TIC." Investigaciones Sobre Lectura, no. 5 (January 31, 2016): 36–43. http://dx.doi.org/10.37132/isl.v0i5.107.
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The historical chronology shows a narrow intertextual link between literature and music, present in various cultural and artistic contexts. It is essential, therefore, employment and use of educational skills as the main approach to promoting reading habit among students.Through to ICT and the area of Arts Education can develop an active methodology where standards and focused on the understanding and the promotion of reading fiction in the area of Spanish Language and Literature contents are worked, thus promoting creativity and autonomy in students through meaningful learning that contributes to the development of the learners.The draft is based on a teaching experience of hypertext creation aimed at students in 5th year of Primary Education (2nd Tranche), where classical literature (folktales) merges with the ternary musical form (ABA), the point starting from a narrative and musical invention which is reflected in ICT tools through different program used for editing and mounting. This is intended also to demonstrate the similarity between the structure and organization which keep the literary and musical patterns.
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Marco Martínez, María, and Darío Bañón Olivares. "Cambiemos la historia. Una creación hipertextual basada en las TIC." Investigaciones Sobre Lectura, no. 5 (January 31, 2016): 36–43. http://dx.doi.org/10.24310/revistaisl.vi5.11090.
Full textAbstract:
The historical chronology shows a narrow intertextual link between literature and music, present in various cultural and artistic contexts. It is essential, therefore, employment and use of educational skills as the main approach to promoting reading habit among students.Through to ICT and the area of Arts Education can develop an active methodology where standards and focused on the understanding and the promotion of reading fiction in the area of Spanish Language and Literature contents are worked, thus promoting creativity and autonomy in students through meaningful learning that contributes to the development of the learners.The draft is based on a teaching experience of hypertext creation aimed at students in 5th year of Primary Education (2nd Tranche), where classical literature (folktales) merges with the ternary musical form (ABA), the point starting from a narrative and musical invention which is reflected in ICT tools through different program used for editing and mounting. This is intended also to demonstrate the similarity between the structure and organization which keep the literary and musical patterns.
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Myslina, Julia N. "The Joyce’s Tradition of V. Pelevin’s Novel «Empire ‘V’»: from Anti-scientism to the Invention of a New Character." Вестник Пермского университета. Российская и зарубежная филология 14, no. 4 (2022): 94–105. http://dx.doi.org/10.17072/2073-6681-2022-4-94-105.
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The article examines how Joyce’s detached attitude to progress in the novel Ulysses transforms into the parody-comic anti-scientism of Victor Pelevin’s novel Empire ‘V’. The Russian author not only refuses to recognize positive ontology as of scientific mood but also reduces its mission only to the destruction of reality and return to the basic intuition. The paper proves that Joyce’s methods of splitting the consciousness of the one acquiring scientific knowledge (cognizer) are rethought by Pelevin as the cognizer’s consciousness multiplied to infinity, which produces a subjective multiple reality, turning into a hypertext. Therefore, Pelevin turns Joyce’s hypostatized elements into independent agents, being characters of a new type. These characters are faced with the question of their real / possible existence in a subjective multiple reality. Thus, these new characters are interpreted within the framework of the subject-object antinomy, as fiction proceeds from subject-object relations. The paper aims to determine the influence of the Joycean principle of splitting subjective consciousness in Ulysses on the creation by V. Pelevin of characters and ways of expressing the new type in Empire ‘V’. The subject of study is the features of the invention of the new-type characters as a tool for organizing fictional decisions in Pelevin’s novel Empire ‘V’. The paper is the first study to prove that the artistic method showing the split consciousness in the heroes of the Pelevin’s novel directly develops Joyce’s epistemological tradition of the cognizer’s crisis, but in the era of weird-philosophy. The main research techniques employed: comparative method, historical and cultural contextualization, discourse analysis.
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Madhi, Fatma Dhafir. "Beowulf Revisited: A Study of John Gardener’s Novel Grendel." Journal of Tikrit University for Humanities 30, no. 12, 2 (December 30, 2023): 367–80. http://dx.doi.org/10.25130/jtuh.30.12.2.2023.30.
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This study presents a critical and textual analysis of John Gardener’s novel, Grendel. Relying heavily upon aspects of post structuralism, the study examines the two texts, Beowulf, an anonymous medieval epic, and John Gardener’s Grendel in terms of their contexts and discourses. The study argues that Grendel is a hypertext that relates to Beowulf by means of transtextualty so as to tackle crucial perspectives of western philosophy, civilizational heritage and thus elucidates its existential discourse. The study concludes that Gardener’s novel is a revisionist narrative that aims at elaborating on the concept of heroic Self as opposed to the antiheroic ‘Other’. Further, the study concludes that Gardener’s, by means of adaptation, presents a new discourse that does not reduce Grendel, the monster in the original epic, to the demonic stereotype of the ‘wronged villain’. The significance of the study springs from the need to liberate literature from the anxiety of aimless imitation and thus enhancing Derrida’s poststructuralist notion which confirms that meaning has no definite closure. The study significantly examines the texts with reference to Gerard Genette’s structural narratology, John Gardner’s The Art of Fiction, and other critics who theorized the main key concepts in intertextuality, appropriation, and adaptation.
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Belyaeva, Natalya V. "Differentiated approach to teaching students to make historical and cultural comments with the help of the Internet resources." Literature at School, no. 2, 2020 (2020): 76–88. http://dx.doi.org/10.31862/0130-3414-2020-2-76-88.
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The purpose of the study was to create a methodological model of a differentiated learning process while making historical and cultural comments during the lessons in Literature and Literature-based reading. The differentiated approach should take into account not only the age, personal, psychological, and pedagogical characteristics of students, but also the literary and methodological aspects of the issue. When reading fiction, students often find it difficult to interpret historical or cultural realities, which require mastering the techniques of searching for reference information and the ability to make historical and cultural comments with the use of the Internet. The methodological foundation of the study consists of the works on differentiation in the theory of education and upbringing, the peculiarities of differentiated learning at Literature and Literature-based reading lessons, the methods of making historical and cultural comments while studying literary works of art, the Internet hypertext for the actualization of the intertextual nature of fiction. Making historical and cultural comments, students develop their metasubject and subject skills. In primary school, pupils learn to use various search methods of looking up in the Internet dictionaries and encyclopedias, to advance the culture of using reference sources, to better understand the contents of the books read, to know the initial techniques of interpreting a literary text. In secondary school, students learn to identify the lack of information and to extract the latter from various sources, to attain semantic reading minding historical realities while analyzing the text, to use ICT, observing the rules of information security. In high school, they should be able to carry out independent research, to take into account the historical and cultural context while analyzing the text, to possess the skills of complex philological analysis. Differentiated tasks while making historical and cultural comments on literary works with the use of the Internet resources contribute to the successful implementation of the metasubject and subject results indicated in the Federal state standards (National Curricula) of primary, secondary, and high education.
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Niari, Maria, Anna Apostolidou, and Ivi Daskalaki. "Anthropological intersections between new reproductive technologies and new digital technologies." TECHNO REVIEW. International Technology, Science and Society Review 9, no. 1 (September 18, 2020): 49–59. http://dx.doi.org/10.37467/gka-revtechno.v9.2645.
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The digital turn in anthropology and ethnography is not a sudden rupture to the field’s epistemological quest. In recent years, after the visual turn and the evolution of Digital Humanities, there have been notable efforts to address the digital aspect of social reality by several anthropologists worldwide. However, the focus has been predominantly on the observation of internet cultures and communities, mainly tackling phenomena that ‘take place’ in the digital realm, and on the techniques and issues that arise from conducting online research with limited contributions to the theoretical ramifications of recent advancements on the technological front. We argue that the methodological repercussions of the discussion around digital ethnographic writing modalities has not yet been adequately addressed, which reflects a wider tendency of the anthropological lens to remain on the “observant” side of things and not partake in the active discussion and practices regarding knowledge production and representation. Drawing on the research project “Ethnography and/as hypertext fiction: representing surrogate motherhood” (HYFRESMO), currently implemented at the Anthropology Department of Panteion University and funded by the Hellenic Foundation for Research and Innovation & the General Secretariat for Research and Technology, the paper seeks to provide an example of the creative accommodation of digital media in the field of anthropology. In order to do so, it focuses on the intersections between the object of study (new reproductive technologies) and the writing tropes made available by new digital technologies. After conducting ‘traditional’ physical fieldwork on surrogate motherhood, and combining offline and online observation and communication with research interlocutors, our methodological proposition does not aspire to radicalize the work already implemented by fellow anthropologists in the direction of data gathering or performing participant observation in the digital/cyber-sphere; rather, in our endeavor to create a transmedia, non-text-oriented, fictional ethnographic account (during but mainly after) the fieldwork experience, we propose that digital ethnographic representation becomes a very privileged under-researched terrain upon which to experiment on the transformative potential of the digital turn in the humanities and creatively tie together the research topics and their representational potentials.
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Barnych, Mykhailo, Oleksandr Balaban, Svitlana Kotlyar, Olena Venher, and Oksana Kravtsova. "Staged reality in cinema: Contemporary interpretations and meanings." Scientific Herald of Uzhhorod University Series Physics 2024, no. 55 (January 16, 2024): 1466–73. http://dx.doi.org/10.54919/physics/55.2024.146wo6.
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Relevance. The relevance of this subject is related to the development of information technology and new media, which has allowed wide access to cinema as a visual activity. The information media space is increasingly connected to human existence, and the demand for intangible goods and services inherent in post-industrial society is causing increasing demands for intellectual products outside the science and production industry.Purpose. In this context, the purpose of the study is to identify the plane of the significance of the staged reality of cinema as a dominant form of synthetic art, the attitude between artistic and nonartistic features of staged reality on the example of fiction and documentary cinema, and to outline the transformation of the structure of film reality as a constructor and medium.Methodology. The principal approaches to the study were structural and hermeneutic approaches to structural analysis in terms of the semiotics of culture of cinema reality sign space and the use of interpretive practices on textual objects.Results. The study describes the connection between the simulacrisation of cinema as a separate staged reality, capable of gaining independence from the original author's idea; the loss of the original author's role and the work itself as a text that is part of the global inter- and hypertext; and the role of the medium as a coherent, semantic carrier of content in the act of communication, which in its unity infinitely increases the possible perceptible meanings determined by the form.Conclusions. The materials of this study harmonise the theories of simulacra, author's death and mediumship in the context of cinema semiotics in the interpretative vector "mediumship-discourse-sign" and orient further research towards establishing the attitude between individual authorial language and cinema discourse in the context of hyperreality.
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Brunner, Fiona, Thomas Keller, and Elke Brucker-Kley. "Assessment of Innovation Readiness and Technology Acceptance Using Immersive Sci-Fi Prototyping." European Conference on the Impact of Artificial Intelligence and Robotics 4, no. 1 (November 17, 2022): 154–61. http://dx.doi.org/10.34190/eciair.4.1.727.
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Digital transformation is ubiquitous and is generating unprecedented forms of innovation. However, it brings new challenges due to its comprehensive nature and potentially profound impacts. Technology assessment examines the long-term impacts of technologies on society and the environment. One aspect of this is a broad societal discourse, which is considered indispensable in a functioning democracy. To this end, various perspectives are sought, especially from experts in science, business, and politics, but also the opinion of the public. In practice, however, this poses a challenge. How is the public supposed to be able to form an informed opinion about a technological change, an upcoming innovation, if this change is multi-layered and not easily transparent and comprehensible? In this paper, attitude formation and attitude change are examined in more detail using a science fiction prototype in the democratic field of action. The main focus lies on immersion. The effects of immersive scenarios on attitudes toward technological innovations have not yet been sufficiently studied. The authors believe that conventional methods appeal mainly to cognition, but people are often driven by emotions. The immersive sci-fi prototyping method is designed to allow technological innovations to be experienced with virtual reality and thus also appeals to emotions in the process of forming attitudes. The authors hypothesize that with the immersive sci-fi prototyping method, a better starting point is provided to evaluate technology acceptance and innovation readiness. For this purpose, a laboratory experiment is conducted with a pre- and post-survey. The results of the low-immersion group, who click through the sci-fi prototype as hypertext in the browser, are compared with the high-immersion group, who experience the sci-fi prototype in a VR environment. The results show that both sci-fi prototyping and immersive sci-fi prototyping are suitable for capturing attitude. In the immersive sci-fi prototyping method, subjects are better able to visualise the technology and, in general, VR has shown a stronger impact on attitude change. These results relate to the digital democratic assistant presented in the sci-fi prototype.
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Bagherian, Sophia, and Javad Yaghoobi-Derabi. "Hypertextuality and the fall of the structuralist paradigm: a genettian reading of the Odyssey's selected hypertexts." Revista de Investigaciones Universidad del Quindío 34, S2 (December 20, 2022): 443–51. http://dx.doi.org/10.33975/riuq.vol34ns2.1143.
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Man's natural ability to tell stories was not hidden from literary critics' speculative eyes. Oral and written storytelling has been around for thousands of years. The fascination with ontological and epistemological questions regarding being and the unknown has prompted the man to use his imagination motor to explore and dwell simultaneously in both real and fictional worlds, actual and virtual ones. This article is an attempt to connect different interpretations of trans-textualized hypertexts or retellings that have emerged as a result of the contemporary movements of structuralism and poststructuralism in the light of Gerard Genette’s narrative theory, in order to emphasize the dialectic of assumptions and positive expectations. Structuralist narrative theories prove inapt to justify the thematic modifications of the hypertexts created as the result of trans fictionality. To meet the aim of the study the descriptive method is utilized, which seeks to explore the narratological dimensions of the four retellings above of the Odyssey, based on the structuralist view. Considering the results, narratological reading based on the overall structure of a narrative, or langue, cannot justify the changes that hypersexuality is responsible for, and the reading has to be in line with the parole, or the specific style of each hypertext.
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Nguyen, Phuong Khanh. "The journeys and the "rewriting" in Vertigo by W. G. Sebald." Vestnik Tomskogo gosudarstvennogo universiteta. Filologiya, no. 81 (2023): 241–55. http://dx.doi.org/10.17223/19986645/81/13.
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W.G. Sebald (1944–2001) is considered one of the important authors in German literature after World War II and also is a writer with a special influence in contemporary world literature. Sebald’s first prose work, Vertigo (Schwindel. Gefühle), carries in embryonic form all the motifs that can be encountered in the Sebaldian corpus, specifically the motif of travel, in close connection with the theme of memory. Based on the intertextuality approach, the article aims to interpret the relationship between different kinds of texts on the plot of many vertiginous journeys through space, time, and point out the borders between history and representation, text/image and reality, life, and writing. In doing this research, the author uses the qualitative method with a descriptive approach to disclose the discursive strategies of a superposition of text types in a highly complex narrative. The article has analyzed the plot’s structure of four parts and the overlapping text layers in the novel and found that Vertigo is written in travel style. The story is like a pilgrimage; however, the narrator is not a tourist, but like a “flâneur” on drift journeys (according to Guy Debord’s dérive theory). And Sebald, in a way, always tended to portray scenes haunted by grief and loss. The physical spaces in Sebald’s work are always inlaid with historical, cultural, metaphysical, and psychological sediments, making it not simply a place to visit. The Sebald-flâneur’s journey often deliberately drifts to the periphery, wandering in the edge, they are a traveller who does not intend to relax, whose movement is drawn from emotions arising from the outside landscape. Moreover, from the result of analysing Sebald’s narrative techniques, the author has demonstrated that Vertigo is also a hypertext, that every symbol in a text is also a collection of networks of links to innumerable other texts. It is a labyrinth expressing the concept of the “rewriting” of existing texts. Sebald seems to want to create a feeling of “schwindel” (vertigo) to encourage a viewing, which reads as if it were against the tyranny of a mono-discourse. The novel becomes a space for experiments to break down genre boundaries. The work is a warning for the “reading” since fiction could be nonfiction and vice versa. Therefore, this novel can be read as a collection of short stories with the idea: the “writing” merely “rewriting” over existing texts.
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MANCHENKO, ELENA S., ELENA M. TORBIK, and GULFINUR S. KADYRBIRDIEVA. "ON THE STRUCTURE OF LINKS IN A HYPERTEXTUAL LITERARY WORK." HUMANITARIAN RESEARCHES 76, no. 4 (2020): 104–10. http://dx.doi.org/10.21672/1818-4936-2020-76-4-103-109.
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The article explains the relevance of the research that is determined by the interest of modern linguistics in the study of the author's composition of literary works, which differs from the usual forms of the printed text. The aim of the research is to study the lexical and grammatical features of hypertext by examining the autobiographical novel “My Body" by Shelley Jackson. The material for the research is the hypertext of the autobiographical novel “My Body” by Shelley Jackson, which represents a new electronic form of the novel and is considered to be a lexicographic hypertext. When considering hypertext as a special branching structure of written communication, the definition of "hypertext" is suggested, the main types of hyperlinks presented in the novel under study are considered and illustrated. The analysis of the structure of the hypertext links presentation based on the novel under consideration showed that there are four types of relations between determinative and determinant in external syntagmas: attributive, objective, relational and predicative ones. Syntagmas in hyperlinks are studied according to the types of word combinations: nuclear and non-nuclear word combinations. Hyperlinks in the form of sentences (sentences and quasi-sentences) can also be found in the hypertext. The article analyses lexical and grammatical features of fictional e-hypertext by examining the novel “My Body" by Shelley Jackson. It has been found that relations between language units of different levels within the framework of the hypertext novel are systemic in nature. By using hyperlinks, the author helps the reader generate new ideas, preserving coherence of a literary work.
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Deac, Eliza. "Monstrous Genres: Inverting the Romantic Poetics in Shelley Jackson’s Patchwork Girl." Screen Bodies 1, no. 2 (December 1, 2016): 42–63. http://dx.doi.org/10.3167/screen.2016.010204.
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This article revisits questions of the embodiment (screen and otherwise) with regard to the most representative first generation hypertext fictions—Shelley Jackson’s Patchwork Girl—in order to show how this new genre’s search for identity takes the form of a programmatic inversion of the principles underlying the Romantic poetics and imagery and of a conscious identification with the forms that established views of literature exiled from its realm. The analysis follows the train of metaphorical oppositions deriving from the contrast that Patchwork Girl sets up between book and hypertext by presenting itself as a derivative of Mary Shelley’s novel embodied in a monster (re)born from discarded pieces (of prose or flesh) as opposed to the beautiful and harmonious body that is the book.
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Hueso Fibla, Silvia. "creación de relatos digitales no lineales como herramienta intercultural en el ámbito de la filología francesa." Anales de Filología Francesa, no. 29 (November 24, 2021): 311–33. http://dx.doi.org/10.6018/analesff.480531.
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Este artículo aborda la importancia de la gamificación como forma de innovación docente en contextos universitarios, concretamente en la docencia de lengua y literatura francesas, para nuestro alumnado nativo digital. La creación de serious games pueden incentivarlo, generando una participación activa en la materia y mejores resultados académicos. Concretamente, la creación de ficciones interactivas basadas en hipertextos a través de una herramienta bastante novedosa llamada Twine, nos ha llevado a realizar talleres en clase de TICE en el Grado de LML de la UV con asombrosos resultados. Vamos a analizarlos y a ofrecer ejemplos didácticos para implementar esta herramienta en el aula en contextos académicos. This article focuses on the importance of gamification as a form of innovative teaching method in French Philology for our digital native students. The creation of serious games can encourage them, generating active participation and better academic results. In the context of TICE class in the UV LML Degree, we did workshops during the last two years for the creation of interactive fictions based on hypertexts with a tool called Twine. We are going to analyze the amazing results and give some didactic examples to implement this tool in the university classroom. Cet article porte sur l'importance de la gamification en tant que méthode d'enseignement innovante en philologie française pour nos étudiants natifs du numérique. La création de serious games peut les encourager, générer une participation active et de meilleurs résultats scolaires. Dans le cadre de la classe TICE de LML à l’UV, nous avons réalisé des ateliers au cours des deux dernières années pour la création de fictions interactives basées sur des hypertextes avec un outil appelé Twine. Nous allons analyser les étonnants résultats obtenus et donner quelques exemples didactiques pour implémenter cet outil dans la formation universitaire.
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Kolasińska-Pasterczyk, Iwona. "Interwencja bogini/Szatana? "Wenus w futrze" (2013) – lektura palimpsestowa filmu Romana Polańskiego." Załącznik Kulturoznawczy, no. 10 (December 31, 2023): 281–314. http://dx.doi.org/10.21697/zk.2023.10.14.
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Goddess’s or Satan’s Intervention? A Palimpsest Reading of Roman Polanski’s Venus in Fur (2013) The text concerns Roman Polanski’s film Venus in Fur (2013), a multi-layer psychodrama written for two characters, taking place on several levels of human relations: actress vs. director, literary character vs. performing artist, man vs. woman. Venus in Fur has been defined as a kind of palimpsest, i.e. a film story based on the fictional skeleton of other works. Referring to the concept developed by Gérard Genette, who categorized the ways in which different texts interact with each other, the article investigates the film’s hypertextuality, i.e. the “grafting” of Venus in Fur (as a hypertext) upon earlier works (hypotexts). When discussing Venus in Fur as a text of culture constituting a hypertext superimposed on other literary pieces, such as David Ives’ dramas, Leopold von Sacher-Masoch’s novels, mythological and biblical stories, it was necessary to identify their mutual relations by deciphering all the interconnections, reworkings, reinterpretations, and revisions. Due to the relationships existing between the various cultural texts in the film, the analysis was treated as a palimpsest reading. Attention was also paid to the director-actress relationship and the role of the female character in connection with the reinterpretation of the myth of the goddess Venus.
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Negryshev, Andrej. "Pseudo-Sensation on the Internet: Experience of Linguistic Description." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 2. Jazykoznanije, no. 2 (May 2020): 43–53. http://dx.doi.org/10.15688/jvolsu2.2020.2.4.
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The author attempts to consider linguistically the phenomenon of pseudo-sensation which is widespread on the Internet. From the point of view of linguistics pseudo-sensation is a short message of a shocking and provocative nature, constructed on the basis of any media text that does not contain sensational information. Being derived from the source-text, pseudo-sensation differs from a fake, which is a completely fictional message or graphic object. Pseudo-sensational messages are presented on the Internet mainly in the form of announcement headlines. Such headlines function autonomously on a web page as signals motivating to follow a hyperlink. The logical and semantic transformations, employed in pseudo-sensational headlines construction, allow to transform almost any media text into a pseudo-sensation. The description of the mechanisms of such constructing makes the subject of this article. The description is methodologically based upon the "semiotics of truth perversion" by Yu.I. Levin. The analysis of research material, collected from Russian Internet sites, has enabled to reveal three basic logical and semantic transformations: elimination (excluding of one or more components of the text proposition from the headline), substitution (the replacement of the significant components of the text proposition) and complication (addition of excessive components into the headline that are not explicitly contained in the text). The cognitive basis of encouraging to the hypertext transition is the false activation of certain components of the recipient's thesaurus.
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Uslu, Gülşen Aslan. "Treading the Spiral: Intermediality, Spatiality, and Materiality in Lance Olsen’s Theories of Forgetting." Anglia 142, no. 1 (March 1, 2024): 137–61. http://dx.doi.org/10.1515/ang-2024-0010.
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Abstract In his 2014 intermedial word-image novel Theories of Forgetting, Lance Olsen focuses on human life’s transience, impermanence, and fragility through his major characters, Alana and Hugh, and their children, who read their parents’ diaries. The ideas about the fleeting nature of human lives are presented through intermedial configurations in the novel which are rendered through experimental usage of the topography of the page, hypertextual design, and inclusion of photographs and various visual media which altogether redefine the spatiality and materiality of the novel. The initial construction of the spatial form in the work comes from postmodernist narrative elements. Spatiality and space gain further significance in the novel’s fictional world, or narrative space, with Robert Smithson’s earthwork Spiral Jetty, which aims to show change, regression, and disintegration in nature as well as being the main inspiration in the ekphrastic ventures of the novel. Alana, one of the characters, works on a short documentary film on Spiral Jetty, leading her to think and question time and space and how space is subject to change with time. Hugh, another character, is a traveler in distant places like Europe, the Middle East, and Jordan, all of which turn into metaphors that help to shape the narrative and represent the mental spaces of its characters. Besides these stories on and about space, the print book also becomes a site rich with photographs, visual media, and verbal text. Through intermediality, the novel portrays a complex depiction of space at structural, narrative, and material levels. Such a presentation of the stories with postmodernist elements and hypertext and a critical sensibility of the materiality of the print medium turn the work into an art object to be viewed and read.1
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Salter, Anastasia, and Bridget Blodgett. "Alt-Right: Ctrl+A; Del." Persona Studies 3, no. 1 (June 13, 2017): 76–77. http://dx.doi.org/10.21153/ps2017vol3no1art656.
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Built as a hypertext work of electronic literature, “Alt-Right: Ctrl+A; Del” explores the social media fatigue experienced by a woman operating in online spaces. The work takes place from November 9 2016 to January 20 2017, during the pivotal moments of transition prior to Donald Trump’s inauguration. It is heavily influenced by the ongoing challenges faced by participants in social media discourse who are identifiable (or labeled) as other than white, heterosexual, cisgender men (Marciano, 2014). The fictionalised narrative of the work is presented alongside a day-by-day evolving timeline of tweets drawn from real social media discourse. The reader-player experiences both the mundane and the politically momentous, the true and the “fake” news sensations, while navigating through the daily pressures of life which present their own source of exhaustion and challenges. Ultimately, the reader-player must decide to what extent it is worth engaging with the incendiary discourse, and these decisions shape the reputation of the character’s online persona. The choice to engage in political discourse will inevitably result in eventually catching the attention of a horde of procedurally-generated trolls (Phillips 2015), while refraining from participating will leave the character relatively invisible and disengaged from both the media platform and source of social connection. The reader-player must balance the demands of social media to present an active persona to their followers with the personal needs of a human who must cope with the results of harassment from a faceless flood.This work serves both as fictional response and real collection of social media moments from a pivotal period in US political history, inviting the reader-player to think about the apparent “post-truth” state (Suiter 2016) and the ensuing challenges it presents to would-be participants who occupy activist personas in tense and dangerous networked spaces. As an archive, it attempts to capture something that is inherently ephemeral: the in-the-moment experience of the timeline (Zhao et al. 2013). Drawn from the authors’ own social networks, these juxtapositions are difficult to reconstruct with existing social media tools, as Twitter resists the backwards-seeking gaze directly and requires APIs and directed searches to observe past tweets (Burgess & Bruns 2012). The central mechanic of consequences for speech is directly inspired by targeted harassment campaigns in recent social media history. The misogynist, word-focused hunting of Gamergate, which demonstrated the effectiveness of hashtag-driven mobbing at silencing discourse, is the inspiration for the procedural trolling model encountered as endgame (Chess & Shaw 2015). These tactics have been on display across the political spectrum during the election, as demonstrated by the attacks of “Bernie Bros”, or automated chatbots labeled as such, on Hillary Clinton supporters (Wilz 2016). The game invites both active political participants online and those who refrain to consider their position and motivations, and particularly how the specter of online harassment haunts the decision-making process of constructing a social media persona.
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Megela, Ivan. "MEANS OF REPRODUCING THE INDIVIDUAL PAST IN W. SEBALD’S NOVEL AUSTERLITZ." Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe 4, no. 1 (2022): 81–86. http://dx.doi.org/10.15804/ppusn.2022.01.07.
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The article is devoted to the coverage of the problem of bricolage as a method of memory reconstruction in the novel “Austerlitz” by the greatest German writer Winfried Sebald. The article notes that “Austerlitz” marks the transition from trauma to conscious identity as part of the historical memory of the Holocaust. It shows how the hero of the work, Jacques Austerlitz, acquires his identity by assembling from scattered information his personal history, reflecting a significant part of the collective tragedy. The genre feature of the work as a travelogue, memoir, investigation, as literature bordering on documentary and artistic experience, where the real is combined with the fictional, is highlighted. The article describes in detail the content of the technique of bricolage as a form of “wild”, “pre-rational” way of thinking, as a technique of fitting auxiliary materials (old photographs, newspaper clippings), a montage of disparate episodes, the technique of collage. The structure of the work’s storytelling is analyzed when the narrator does not tell the story but describes what he hears from Jacques Austerlitz. It is as if it is not a text, but the story itself, which someone tells, and also shows pictures for authenticity. The functions of the hero in the novel gradually shift from people to things, documents, bearers of the memory of individual and collective civilizational catastrophe. These indescribable witnesses break the blockade of traumatic silence around the childhood of Austerlitz, embodied in images of blindness, dumbness, oblivion. Before the protagonist of the work, the “man without a past,” the history of his family, the ghostly happy childhood that was rudely cut short by the separation from his biological parents, is suddenly revealed. Sebald demonstrates a contemporary form of novel narrative in which the truthfulness of the Holocaust narrative is revealed by incorporating the exile’s personal authorial biography, pain, and guilt into the memory of this tragedy. The role of photographs and descriptions of architectural structures in revealing the immanent semantic content of the subject, not manifested verbally, is analyzed. The latter is the key document that unites and structures the important for the writer themes of memories, memory, indifference, oblivion, return to the ghostly past, overcoming of the psychological trauma. Based on the analysis the author concludes that the attitude to the reader as a co-author brings Sebald’s novel closer to the tradition of the European intellectual novel and postmodern hypertexts, in which meaningful units are not presented in a traditional linear sequence, but as a multiplicity of links and transitions. The author notes that the acute experience of humanitarian catastrophe, the multilayered text, the density of meaningful meanings make this work a notable phenomenon in the context of artistic comprehension of traumatic memory.
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"Hyperizons: hypertext fiction." Choice Reviews Online 35, no. 12 (August 1, 1998): 35SUP—079–35SUP—079. http://dx.doi.org/10.5860/choice.35sup-079.
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"Hyperizons: hypertext fiction." Choice Reviews Online 40, no. 12 (August 1, 2003): 40Sup—0105–40Sup—0105. http://dx.doi.org/10.5860/choice.40sup-0105.
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"Hyperizons: hypertext fiction." Choice Reviews Online 36, no. 12 (August 1, 1999): 36Sup—099–36Sup—099. http://dx.doi.org/10.5860/choice.36sup-099.
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