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1. Destination Unknown: Experiments in the Network Novel

   PhD, University of Cincinnati, Arts & Sciences : English & Comparative Literature, 2003.

   Advisor: Dr. Thomas LeClair

   Scott Rettberg - 26.02.2011 - 16:15

2. "Of Dolls and Monsters": An Interview with Shelley Jackson

   "Of Dolls and Monsters": An Interview with Shelley Jackson

   Eric Dean Rasmussen - 14.03.2011 - 20:09

3. Fiction and Interaction: How Clicking a Mouse Can Make You Part of a Fictional World

   This PhD dissertation is about works in which the user is a character in a fictional world, and the interaction that such works allow. What happens when you become a character in the story you're reading?

   The concept "ontological interaction" is proposed, which is a form of interaction where the user is included in the fictional world. Kendall Walton's concept of fictional worlds is explored in relation to electronic literature and digital art, and other narratological concepts are also examined, in addition to a general focus on the themes of force and control.

   Jill Walker Rettberg - 01.03.2012 - 11:27

4. New Plots for Hypertext?: Towards a Poetics of the Hypertext Node

   While the significance of hypertext links for the new ways of telling stories has been widely discussed, there has been not many debates about the very elements that are being connected: hypertext nodes. Apart from few exceptions, poetics of the link overshadows poetics of the node. My goal is to re-focus on a single node, or lexia, by introducing the concept of contextual regulation as the major force that shapes hypertext narrative units. Because many lexias must be capable of occurring in different contexts and at different stages of the unfolding story, several compromises have to be made on the level of language, style, plot and discourse. Each node, depending on its position and importance, has a varying level of connectivity and autonomy, which affects the global coherence of text.

   Scott Rettberg - 26.05.2013 - 14:25

5. No War Machine

   No War Machine

   Scott Rettberg - 29.06.2013 - 20:04

6. Pushing Back: Living and Writing in Broken Space

   Pushing Back: Living and Writing in Broken Space

   Scott Rettberg - 29.06.2013 - 20:50

7. Writing at the Limit: The Novel in the New Media Ecology

   While some cultural critics are pronouncing the death of the novel, a whole generation of novelists have turned to other media with curiosity rather than fear. These novelists are not simply incorporating references to other media into their work for the sake of verisimilitude, they are also engaging precisely such media as a way of talking about what it means to write and read narrative in a society filled with stories told outside the print medium. By examining how some of our best fiction writers have taken up the challenge of film, television, video games, and hypertext, Daniel Punday offers an enlightening look into the current status of such fundamental narrative concepts as character, plot, and setting. He considers well-known postmodernists like Thomas Pynchon and Robert Coover, more-accessible authors like Maxine Hong Kingston and Oscar Hijuelos, and unjustly overlooked writers like Susan Daitch and Kenneth Gangemi, and asks how their works investigate the nature and limits of print as a medium for storytelling.

   J. R. Carpenter - 08.07.2013 - 12:20

8. Internet Hyperfiction: Can it ever Become a Widely Popular Artform?

   Since 1982 multilinear and interactive literature has been written in the hypertext media. Until now the authors have been obsessed with traditional literary conventions, which has often made the hypertexts seem rather academic and pretentious. But that may change. During the last five years a new breed of writers have discovered the possibilities on the Internet. They address a wider audience than lecturers and very enthusiastic bibliophiles, in a form that finds a more popular balance between traditional storytelling virtues and the more avant-garde elements. This new tendency can be observed in hyperfictions like The Unknown and on the following pages I will establish how and why it should be possible to make hyperliterature more popular than it is at the present, if writers are willing to move a little further towards the more lay readers. As an example of how this could be happening the conclusion will list what seems to be the main reasons why The Unknown to a higher degree seems to succeed when it comes to capturing the reader without losing any of the experimental edge that is still a part of hypertext due to its modest age.

   (Source: Thesis abstract)

   Scott Rettberg - 16.07.2013 - 15:42

9. Collaborative Narrative

   Brief entry on collaborative narrative situating collaboration in hypertext and online writing contexts.

   Collaboratively written narratives are not specific to new media: a number of works within the Western cultural and literary canon, for example the epics of Homer, the Judeo-Christian Bible, and Beowulf, are believed to have been developed through collaborative storytelling and writing processes. It can however be said that collaborative writing practices are more prevalent in contemporary digital media than in print.

   Electronic literature authors most often write within software platforms that are themselves “authored”—every time someone opens up Photoshop, or Flash, they are reminded of the long list of developers who actually wrote the software. So even making use of a particular application is a type of collaboration. There is a greater degree of transparency to the collective efforts involved in digital media production than to traditional literary production.

   (Source: Author's introduction)

   Scott Rettberg - 01.11.2013 - 11:53

10. The American Hypertext Novel, and Whatever Became of It?

    The chapter provides a brief history of experiments in the hypertext novel in America during the 1990s. The 1990 Eastgate publication of Michael Joyce’s Afternoon, A Story earned hypertext fiction a place within institutionalised literary culture. Robert Coover’s 1992 essay "The End of Books" announced hypertext fiction as a challenge to traditional conceptions such as narrative linearity, the sense of closure, and the “desire for coherence.” While some theorists, such as George Landow, praised hypertext for instantiating poststructuralist theory, others such as Sven Birkerts, in The Gutenberg Elegies, regarded it with strong concern. The publication of more hypertext fictions such as Stuart Moulthrop’s Victory Garden (1991) and Shelley Jackson’s Patchwork Girl (1995) resulted in a small, dedicated interest community. However, no paradigm-shifting rise in interest took place.

    Scott Rettberg - 26.04.2015 - 16:27

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