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1. "I Am a Double Agent": Shelley Jackson's Patchwork Girl and the Persistence of Print in the Age of Hypertext

   "I Am a Double Agent": Shelley Jackson's Patchwork Girl and the Persistence of Print in the Age of Hypertext

   Eric Dean Rasmussen - 24.06.2011 - 16:17

2. Reproductive Technologies, Fetal Icons, and Genetic Freaks: Shelley Jackson’s Patchwork Girl and the Limits and Possibilities of Donna Haraway’s Cyborg

   This article uses Donna Haraway’s work in “A Cyborg Manifesto” to examine how new reproductive technologies and politics meet and converge with fictional representations of the posthuman subject in Shelley Jackson’s hypertext, Patchwork Girl. It argues that Jackson’s text offers a cyborgian reading of reproduction that challenges the dominant discourse surrounding new reproductive technologies. Ultimately, it argues that Jackson’s text represents assisted conceptions, cyborgian births, and monstrous progenesis in ways that explore the possibilities and limitations of the cyborg, and it addresses current preoccupations with the potential benefits and horrors of new reproductive technologies. (Source: Author's abstract)

   Eric Dean Rasmussen - 27.06.2011 - 08:22

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