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1. Hypertext Syntagmas: Cinematic Narration with Links

   Christian Metz's semiotic analysis of cinema is described in relation to hypertext narrative. Connections between film narrative syntagmas and hypertextual syntagmas are explored, with an emphasis on the contextual and pragmatic nature of these structures. (Source: abstract in journal)

   Jill Walker Rettberg - 16.11.2011 - 12:04

2. Formalisation d’un modèle fonctionnel de communication à l’aide des technologies numériques appliqué à la création poétique

   This work develops a theoretical model of the communication which is established in e-poetry between an author and a reader by use of two computers. One is used to create the work and the other to read it. The files are transmitted with a CDROM.

   We make first a diachronic study of the field. It shows that conceptions gradually evolve. The study of visual forms shows that the mind representation of the system made by the actors are important in this communication.

   The model of linked text is purposed. The concept of text depends upon the global representation of the situation for each actor. This model is developed in cognitive and semiotic approaches. The notions of texte-à-voir, texte-écrit and texte-lu are introduced.

   Scott Rettberg - 28.06.2013 - 17:02

3. Reader/Readers

   The paper will present a percepto-cognitive theory of e-poetry. This theory uses a non-ontologic approach of literature in which the concept of "text" cannot be defined independendly from the mind representation for the system. This conception, named "theorie du texte lié à une profondeur" (theory of text linked to a deep) will be present. In this theory, the main concepts are the mind representation of the system, named the "profondeur de dispositif" (system-deep), and the set of elements which can be perceived as a classical text. This set is named the "texte-à-voir" (text-to-be-seen). The system-deep which seems to govern the real behaviour of the system in e-literature is named the procedural archetype. The paper will present the main caracteristic features of it, specially the particular position of the reader. The most important features relative to the reading are the "double reading" and the "aesthetics of frustration": to construct the sense of a work, the reader "has to read his reading", even if the work is non-interactive. This particularity is named "double reading".

   Patricia Tomaszek - 28.10.2013 - 14:22