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  1. E-poetry: the Palpable Side of Signs

    In his famous essay entitles “Linguistics and Poetics” (1958) Roman Jakobson asserted that the “[poetic function] stresses the palpable side of signs”. Paul Valéry states that “a poem […] should create the illusion of an indissoluble compound of sound and sense”.

    We traditionally call poetry an artistic experience related to the word both in oral and written form, whose composition unity is the verse line (alexandrine verse, free verse, etc.). The oral medium should be normally richer. The written poetry, in fact, translated into the page only the segmental part of a text, but it is not able to show the over-segmental part as the tone, modulation, etc. However, we can say that this discrepancy has been cancelled: for instance, emphasis, oral procedure concerning duration, has its graphic form highlighted.

    Eric Dean Rasmussen - 27.01.2011 - 15:55

  2. Intertextuality in Digital Poetry

    Despite postmodern and deconstructivist studies in the field, interxtuality is still often viewed as a process of textual closure: in that vision a text refers to an older text, and once we have found the source, the intertextual interpretation is completed.

    Riffatterre, for example, seems to suggest this in his article ‘Intertextuality vs Hypertextuality’ (1994). Riffaterre stated here that intertextuality and hypertextuality should be distinguished, since the former is finite, while the latter is infinite. He defines hypertextuality as ‘the use of the computer to transcend the linearity of the written text by building an endless series of imagined connections, from verbal associations to possible worlds, extending the glosses or the marginalia from the footnotes of yesteryear to metatexts’ (Riffaterre 1994: 780) Intertextuality, on the other hand, ‘depends on a system of difficulties to be reckoned with, of limitations in our freedom of choice, of exclusions, since it is by renouncing incompatible associations within the text that we come to identify in the intertext their compatible counterparts’ (ibid: 781).

    Eric Dean Rasmussen - 27.01.2011 - 17:01

  3. The Strategy of Digital Modernism: Young-Hae Chang Heavy Industries's Dakota

    from Project MUSE: A prominent strategy in some of the most innovative electronic literature online is the appropriation and adaptation of literary modernism, what I call “digital modernism.” This essay introduces digital modernism by examining a work that exemplifies it: Dakota by Young-hae Chang Heavy Industries. I read this Flash-based work in relation to its literary inspiration: the authors claim that Dakota is “based on a close reading of Ezra Pound's Cantos part I and part II.” The authorial framework claims modernism’s cultural capital for electronic literature and encourages close reading of its text, but the work’s formal presentation of speeding, flashing text challenges such efforts. Reading Dakota as it reads Pound’s first two cantos exposes how modernism serves contemporary, digital literature by providing a model of how to “MAKE IT NEW” by renovating a literary past.

    Eric Dean Rasmussen - 14.02.2011 - 10:27

  4. Reading Digital Literature: Surface, Data, Interaction, and Expressive Processing

    Reading Digital Literature: Surface, Data, Interaction, and Expressive Processing

    Eric Dean Rasmussen - 10.03.2011 - 13:58

  5. Is There a Text on This Screen? Reading in an Era of Hypertextuality

    Is There a Text on This Screen? Reading in an Era of Hypertextuality

    Eric Dean Rasmussen - 07.02.2012 - 11:56

  6. Sensory Modalities and Digital Media

    My presentation will discuss the use of information and social networking software in electronic writing with the aim of identifying and analyzing several important new directions in literary criticism in the digital era. 

    As I argue, one of the most significant pedagogical outcomes of media convergence within the literary arts centres upon criticism’s necessary de-emphasis of traditional genre-based modes of analysis and assessment. While digital works may resemble, perhaps even aesthetically mimic, the various analogue formats upon which they are based, both the qualitative and quantitative distinctions between texts, audio and image-based forms remain conceptual, not actual. Subsequently, the primary interpretative paradigms for all forms of digital cultural production tend to emerge via spatially accrued tensions and patterns between the work and its literal location within an information network. 

    Scott Rettberg - 08.01.2013 - 15:45