Le récit littéraire interactif. Narrativité et interactivité
The expression interactive literary narrative applies to a variety of works. In its diversity, the
interactive literary narrative raises questions on narratives, interactive architecture, multimedia as
well as on literature. It is because the interactive literary narrative is wrought by tensions that it has
this questioning and maybe even revealing capacity. This tension is first and foremost that which lies between narrativity and interactivity and which investigates other connections or tensions :
- with regards to the narrative, the tension between adherence and distance can be characterized by a play on fictionalization and reflexivity;
- with regards to the interactive architecture, the tension between assistance and control roles can
manifest itself by a play on loss of grasp,
- with regards to the multimedia, the tension between a text-based narrative and a multimedia
narrative can be reached by work on text as a dynamic and polysemiotic object, and also the
theatralization of interactive objects endowed with behaviour,
- with regards to its recognition as a literary work, the tension between horizon of expectations and aesthetic distance manifests itself by the aesthetics of the materiality of the text, the interface and the medium. Thus, the interactive literary narrative corresponds more to an experimental field than to a well defined autonomous genre.
Source: author's abstract
Works referenced:
Title | Author | Year |
---|---|---|
Stefanaccia | Patrick-Henri Burgaud | 2001 |
The Doorman | Reiner Strasser | 2002 |
The Intruder | Natalie Bookchin | 1999 |
Trajectoires | Jean-Pierre Balpe | 2001 |
Trajectoires | Jean-Pierre Balpe | 2001 |
Tramway | Alexandra Saemmer | 2009 |
True North | Stephanie Strickland | 1997 |
Un conte à votre façon | Raymond Queneau | 1999 |
Vaisseaux brûlés | Camus Renaud | 1998 |
Victory Garden | Stuart Moulthrop | 1991 |
Vingt ans après | Sophie Calle | 2001 |
What We Will | John Cayley | 2004 |
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