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1. "Schema theory and hypertext fiction"

   'This article provides a method of analyzing hyperlinks in hypertext fiction. It begins by showing that hyperlinks in hypertext work associatively. It then argues that schema theory can be used to analyze the ways in which readers approach hypertext reading as well as how links function in hypertext fiction. The approach is profiled via an analysis of external links in a Web-based fiction, 10:01 by Lance Olsen and Tim Guthrie. It shows that links are used to provide an ideological context to the narrative as well as forging a relationship between the fictional and actual world. The article ends by suggesting that schema theory could be used to analyze links in other hypertext fictions as well as informational hypertexts.'

   (Source: from article abstract) 

   Agnete Thomassen Steine - 22.09.2021 - 12:26

2. What Is Fanfiction and Why Are People Saying Such Nice Things about It?

   "What Is Fanfiction and Why Are People Saying Such Nice Things about It?" gets into what fanfiction and how it works online as well as  literary and narrative theory, ethnography, feminism and queer theory, and cultural studies. The article also gets into the values of creative work made by fans.

   Caroline Tranberg - 24.09.2021 - 01:23

3. Comedy and Cultural Critique in American Film

   Cinema mostly taught viewers how to understand cinema, constantly thematizing its addresses to and relationship to its audience. Comic cinema has provided a self-reflexive critique of this auto-technological or auto-medial training, allowing audiences to glimpse the many ways they were being conditioned and articulated in the mechanical era by this quintessential example of art form become industry. Comic cinema then considers through its own medial relations to the construction of human perception and consciousness (or aesthetics). Comedy and Cultural Critique in American Film adds to the conversation of film comedy in two primary, interrelated ways. One is it argues for the centrality of comedy in film as a means for staging (or attempting) cultural criticism. Another focuses on the powerful and sustained shifts in visual culture emergent in the 20th century that cinema helped generate, foster, and question. As a result, comedic film often addresses technology (industrial, mechanical, visual, digital, military, etc.) and techne generally that constitute the grounds of possibility for cinema itself that fall into its purview of self-reflexive cultural criticism.

   Ashleigh Steele - 26.09.2021 - 10:24

4. I Descend into Hypertext

   Bill Bly reflects on hypertext, while referring to school and his own work We Descend and Wyrmes Mete.

   Heidi Haugsdal Kvinge - 26.09.2021 - 18:41

5. Reconstructing the deconstructed: hypertext and literary education

   From the author:

   Mathias Vetti Olaussen - 27.09.2021 - 16:15

6. Literary hypertext in the foreign language classroom: a case study report

   From the author:

   "Literary hypertext has often been acknowledged as the embodiment of poststructuralist literary theory (e.g. Coover, 1992; Landow, 1997; Bolter, 2001). The only literary medium that is produced, edited, published and received electronically, it encourages readings that defy the conventionally linear decoding process. With respect to text production, it opens up alternative ways of organising semantic structures in individualised, associative ways, which invites constructivist teaching approaches in the foreign language classroom. This article provides a general introduction to definitions, formal criteria, major theories and historical developments. It portrays a selection of existing structural and cognitive linguistic approaches, such as textuality, coherence, communication and learning psychology. A variety of teaching approaches are outlined to convey to what extent hypertext has entered the primary and secondary school syllabus.

   Mathias Vetti Olaussen - 27.09.2021 - 16:53

7. Virtual Textuality

   The essay takes on the differences between hypertext and VR. Through the reflection the author looks at other people’s views, like Vannevar Bush, Jay Bolter, and Robert Coover. As hypertext and VR moves together, despite them being separate now, the author states that they will blur together, creating a new merged experience.

    

    

   Heidi Haugsdal Kvinge - 27.09.2021 - 17:27

8. Poetic Passage Provokes Heavy Thoughts on Life, Death

   Outake from article:

   Wait: Did I call Passage a game? I actually meant to say poem. Because while Passage behaves like a game, it's psychically and aesthetically closer to a superb and tightly crafted sonnet. More than any game I've ever played, it illustrates how a game can be a fantastically expressive, artistic vehicle for exploring the human condition.

   (Source: Wired.com)

   Caroline Tranberg - 28.09.2021 - 00:43

9. Video Games as Literary Devices

   Looks at degrees of subordination of videogame to art in art/games by Regina Célia Pinto, Natalie Bookchin, Neil Hennessey, and Jim Andrews. Published in 2007 (With links updated in October 2015) by the University of Chicago Press in a book edited by Grethe Mitchell and Andy Clarke called Videogames and Art (source: Vispo.com)

   Daniel Johannes Flaten Rosnes - 28.09.2021 - 20:57

10. "Play, Memory": Shadow of the Colossus and Cognitive Workouts

    This paper applies the distinction of episodic and procedural memory from cognitive science to the experience of contemporary video games. It aims to illustrate how participation in the simulative digital environments of "coherent world games" not only draws on but also relies on both forms of memory. Toward this end, the paper employs Fumito Ueda's _Shadow of the Colossus_ (2005), a game that combines a complexity of interaction (play and puzzle-solving) with a narrative complexity that allows for - and encourages - an interpretative understanding of its characters and storyworld. (Source: Abstract)

     

     

    Daniel Johannes Flaten Rosnes - 30.09.2021 - 00:06

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