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1. eLiterature: Literature in the Digital Era. Definition, Concept and Status

   In questo contributo si analizza il concetto di eLiterature e il suo statuto digitale. Si considera quindi il rapporto tra letteratura ed eLiterature e si presentano le caratteristiche peculiari di quest’ultima. Attraversando i concetti di digital born, paper-under-glass, ibridità, mutagenabilità, ergodicità, agency e testualità digitale si offre infine una definizione di letteratura elettronica.

   Patricia Tomaszek - 12.01.2011 - 17:00

2. E-Art: Fragmentation and Assembling

   What constitutes the distinctive aspects of digital art? In what manner is art (created by the possibilities offered by electronic writing) either breaking away from or innovating upon the previous artistic tradition? The search for an answer to these questions leads us to circumscribe five traits, many of which are common to more recent artistic traditions. These are, in order: reflections on language, the thematisation of the act of production, the conceptual value of the work, art in a place beyond its reproducibility and the consequent value of its uniqueness, but above all, the work as a fragmented assemblage.

   “Self Portrait (s) [as Other (s)]” by Talan Memmott, published in the first volume of the Electronic Literature Collection, summarizes and provides a case study, and in many ways it is exemplary of these traits.

    

   Patricia Tomaszek - 12.01.2011 - 17:04

3. The Textual Whole and its Vicissitudes in Digital and Ergodic Literature

   The paper tries to figure out what happens to the notion of the textual whole (or the literary work) if it can appropriate and mix texts not yet published, cannot be read in its entirety, if only a few of its signifiers can or will be shared by all its readers,  there’s no clear termination point to its metamorphosis, and it sets conditions and constraints to its reading process ranging from temporal limitations to personal and personalized perspectives. Perhaps something has to change, but what exactly and how and why?  

    

   Patricia Tomaszek - 12.01.2011 - 17:06

4. About Some Programmed Forms in Digital Poetry

   The paper examines how programmed literary works can been classified by using digital specific characters. The use of dual signs (signs that are for some part in the program and for other on screen), the existence of a semiotic gap (the semiotic level worked in the program differs from the semiotic multimedia level on screen) and the pluricode nature of these works allow to classify the works regarding how they use coding, time and the semiotic gap.

   Patricia Tomaszek - 12.01.2011 - 17:08

5. Filiations and History of Digital Literature in France

   In this paper, I retrace the filiations and the history of digital literature in France, emphasizing the various literary and aesthetic tendencies and the corresponding social structures (groups, reviews...). I conclude with the possible characteristics of digital literature in France (which might not be specific to France).

   Patricia Tomaszek - 12.01.2011 - 17:12

6. E-Literature vs. E-poetry

   E-Literature vs. E-poetry

   Patricia Tomaszek - 12.01.2011 - 17:18

7. Digital Media

   The chapter takes readers through a semester of teaching narrative-based electronic literature works, including interactive fiction, storyspace hypertexts, web hypertexts, email fiction and interactive web-based narratives.

   Scott Rettberg - 13.01.2011 - 15:24

8. From Mimetic to Cybernetic

   From Mimetic to Cybernetic

   Patricia Tomaszek - 13.01.2011 - 15:51

9. Orality Writing Vision

   Orality Writing Vision

   Patricia Tomaszek - 13.01.2011 - 17:00

10. Holopoetry, Biopoetry and Digital Literature: Close Reading and Terminological Debates

    A version of this article was republished as chapter 1, "Digital Literature," in Simanowski's Digital Art and Meaning (University of Minnesota Press, 2011).

    Patricia Tomaszek - 13.01.2011 - 18:33

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