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1. The Heuristic Value of Electronic Literature

   What makes electronic literature interesting for researchers?
   Maybe not its artistic and literary value, but rather its heuristic value.
   Indeed electronic literature not only permits previous media to be reexamined (paper for instance), but it also allows several well-established notions to be questioned (cf. figure above) such as:
   - narrative in narratology;
   - text in linguistics and semiotics;
   - figure in rhetorics;
   - materiality in aesthetics;
   - grasp in anthropology;
   - memory in archivistics;
   - literariness in literary studies…

   Exploiting the heuristic value of electronic literature has two consequences:
   - an evolution of some notions in certain scientific disciplines, and maybe of the disciplines themselves;
   - a revealing effect regarding both digital technology and interactive and multimedia writing.

   Audun Andreassen - 14.03.2013 - 15:51

2. Reclaiming the 'Golden Age': The Second Person in Digital Fiction

   Since the demise of the 'Golden Age' of literary hypertext (Coover 1999) and the theoretical debates surrounding online and offline electronic literature that followed in its wake, the study of digital fiction in particular has undergone a significant paradigm shift. Recent research has moved from a 'first-wave' of pure theoretical debate to a 'second-wave' of close stylistic and semiotic analysis. While the theoretical intricacies of second-wave digital fiction theory have been well debated (e.g. Ciccoricco 2007, Ensslin 2007, Ensslin and Bell 2007, Bell 2010 forthcoming), the discipline and practice of close-reading digital fiction require a more systematic engagement and understanding than offered by previous scholarship.

   Audun Andreassen - 20.03.2013 - 10:12

3. Closer again!

   A semiotic appoach of animated figures in The Dreamlife of letters by Brian Kim Stefans. In many research works of these last years (for example in my book Matières textuelles sur support numérique, 2007), I tried to circumscribe the stylistic features of digital literature. More specifically, I aimed to identify the processes by which “figures of animation” and “figures of manipulation” in e-literature defamiliarize the conventions of digital discourse. In a recent article (“Digital literature - a question of style”, Reading moving letters, ed. Simanowski/Schäfer/Gendolla, 2009), I have already presented a close reading of The Dreamlife of Letters by Brian Kim Stefans; in order to characterize the textual animations in this work, I had recourse to traditional figures of speech (apocope, metathesis, etc.). The result was a large catalogue of figures - a “taxonomic explosion”.

   Audun Andreassen - 10.04.2013 - 11:46