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  1. Focalization and Digital Fiction

    Focalization and Digital Fiction

    Eric Dean Rasmussen - 24.09.2012 - 07:23

  2. The Literariness of New Media Art - A Case for Expanding the Domain of Literary Studies

    This article explores media-related aspects of literariness and examines them on the basis of spoken and written language in new media art, in order to rethink the role of philology. The working hypothesis is that new media art does, in fact, possess the potential for literary analysis; the article is therefore intended as a case for the expansion of literary studies, its paradigms and methodologies. Literature, poetic structures and elements play a significant role in many new media artworks – a fact that has been overlooked so far by both media studies and literary scholarship. The article investigates this new, complex interdisciplinary field in an exemplary analysis. To expand the application of literary studies to new developments in the arts, including new media art working with language, one has to acknowledge that orally performed texts are as complex in their aesthetic presentation and poetic signification as written and printed literary works, and are therefore to be viewed as just as relevant subjects of research.

    Jörgen Schäfer - 07.12.2012 - 15:58

  3. 'I know what it was. You know what it was': Second Person Narration in Hypertext Fiction

    This article offers an analysis of two Storyspace hypertexts, Stuart Moulthrop's Victory Garden and Richard Holeton's Figurski at Findhorn on Acid. The article has a specific focus on how the text implements second-person narration and other forms of the textual "you" (Herman, Story Logic) in juxtaposition with other narrative perspectives. We aim to explore the extent to which print-based narratological theories of the textual "you" apply to the texts under investigation and suggest theoretical tenets and taxonomic modifications arising from the way in which the reader is involved in textual construction. More specifically we will show first how second-person narration can be used in digital fiction to endow the reader with certain properties so that she is maneuvered into the position of "you." We will then show how second-person narration can be used to presuppose knowledge about the reader so as to predict her relationship to "you." In both cases we will show that some instances of second-person narration in digital fiction require additional theoretical categories for their analysis.

    Alice Bell - 29.01.2013 - 16:03

  4. 'Click = Kill'. Textual You in Ludic Digital Fiction'

    This article offers a close-reading of geniwate's and Deena Larsen’s satirical, ludic Flash fiction The Princess Murderer (2003), with a specific focus on how the text implements second person narration and other forms of the textual you (Herman 1994, 2002) in juxtaposition with other narrational stances.

    Alice Bell - 29.01.2013 - 16:06

  5. Space across Narrative Media: Towards an Archaeology of Narratology

    This essay describes the way that digital narratives (both commercial video games and electronic literature) create two kinds of space: a primary storytelling space in which gameplay or reading occurs, and an orientating space through which those primary spaces are encountered. This orienting space might include a larger narrative world, a menu from which game options can be chosen, or some expressive frame for our reading and play. This essay examines space in narrative theory—especially the work of Ruth Ronen, Gabriel Zoran, David Herman, and Mikhail Bakhtin—in search of a theory able to accommodate this orienting space. After an analysis of the challenges of accounting for intentionally bounded or limited narrative space in these theories, this essay turns to Bakhtin’s under-appreciated distinction between the view from inside and outside of the chronotope, which offers an account of what it would mean to occupy such an orienting space. This essay concludes by arguing that the methodology adopted here can have a wider application.

    Daniel Punday - 13.08.2018 - 20:25

  6. Readerly Freedom from the Nascent Novel to Digital Fiction: Confronting Fielding's Joseph Andrews and Burne's "24 Hours with Someone You Know"

    This essay compares two novel forms that are separated by more than 250 years: Henry Fielding's Joseph Andrews, published in 1742, and Philippa Burne's hypertext fiction "24 Hours with Someone You Know," copyrighted in 1996. Using narratological, pragmatic, and cognitive tools and theories, the confrontation of the two distant texts aims to highlight that while "the ethics of the telling" is congruent with the "ethics of the told" in both stories (), the texts differ in the pragmatic positioning of their audiences and the freedom that they seem to grant readers, thereby emphasizing the evolution of the author-reader relationship across centuries and media. The article shows to what extent digital fiction can be said to invite the active participation of the reader via the computer mouse/cursor.

    Jill Walker Rettberg - 06.01.2020 - 14:27

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