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1. Ontological Boundaries and Methodological Leaps: The Importance of Possible Worlds Theory for Hypertext Fiction (and Beyond)

   This essay sets out an ontologically centered approach to Storyspace hypertext fiction by applying Ryan’s (1991) model of Possible Worlds Theory to two canonical texts [...] Shelley Jackson’s Patchwork Girl (1995) and Stuart Moulthrop’s Victory Garden (1991). The analyses show how the Possible Worlds Theory method allows the study of hypertext fiction to move away from the chronological focus of traditional narrative theory to address the ontological mechanics of hypertext narratives. The chapter closes by suggesting ways in which Possible Worlds Theory might also be used as an analytical tool for other forms of digital literature.

   (Source: author's abstract.)

   Eric Dean Rasmussen - 08.04.2012 - 09:17

2. Curveship: An Interactive Fiction System for Narrative Variation

   A report on the interactive-fiction system Curveship, which was designed to provide users a means of generating narrative variation.

   Eric Dean Rasmussen - 08.04.2012 - 09:25

3. Introduction [to New Narratives: Stories and Storytelling in the Digital Age]

   Editors' introduction to a collection of essays on digital narratology. 

   Eric Dean Rasmussen - 10.05.2012 - 13:26

4. Event-Sequences, Plots and Narration in Computer Games

   Opening with the debate between ludologists and narratologists this essay tries to show that there is a narrative aspect in computer games that has nothing to do with background stories and cut scenes. A closer analysis of two sequences, taken from the MMORPG Everquest II and the adventure game Black Mirror, is the basis for a distinction between three aspects of this kind of narrative in computer games: the sequence of activities of the player, the sequence of events as it is determined by the mechanics of the game and the sequence of events understood as a plot, that is as a sequence of (chronologically) ordered and causally linked events. This kind of narrative is quite remote from the proto- typical narrative serving as a source for most narratological considerations. All media and not only computer games therefore actually need their own narratology.

    Source: author's abstract

   Kristine Turøy - 06.09.2012 - 18:55

5. Focalization and Digital Fiction

   Focalization and Digital Fiction

   Eric Dean Rasmussen - 24.09.2012 - 07:23

6. Cybertext palimpsests - literature to the nth degree

   "Cybertext palimpsests" continues the study begun in my two previous DAC papers on narratology and cybertext theory. If we wish to make sense of any individual text we must be able to situate it in relation to literary possibilities as well as to other texts. The emphasis has this time shifted from individual texts and users to the changing relations between texts and between users. The basic assumption is still the same, that especially the dynamic digital cybertexts are capable of expanding and rearranging both transtextual and intersubjective dimensions of literature (texts). 

   Jill Walker Rettberg - 09.10.2012 - 22:43

7. Footnotes in Fiction: A Rhetorical Approach

   This study explores the use of footnotes in fictional narratives. Footnotes and endnotes fall under the category of what Gérard Genette has labeled paratexts, or the elements that sit above or external to the text of the story. In some narratives, however, notes and other paratexts are incorporated into the story as part of the internal narrative frame. I call this particular type of paratext an artificial paratext. Much like traditional paratexts, artificial paratexts are often seen as ancillary to the text. However, artificial paratexts can play a significant role in the narrative dynamic by extending the boundaries of the narrative frame, introducing new heuristic models for interpretation, and offering alternative narrative threads for the reader to unravel. In addition, artificial paratexts provide a useful lens through which to explore current theories of narrative progression, character development, voice, and reliability. In the first chapter, I develop a typology of paratexts, showing that paratexts have been used to deliver factual information, interpretive or analytical glosses, and discursive narratives in their own right.

   Patricia Tomaszek - 16.11.2012 - 15:43

8. The Literariness of New Media Art - A Case for Expanding the Domain of Literary Studies

   This article explores media-related aspects of literariness and examines them on the basis of spoken and written language in new media art, in order to rethink the role of philology. The working hypothesis is that new media art does, in fact, possess the potential for literary analysis; the article is therefore intended as a case for the expansion of literary studies, its paradigms and methodologies. Literature, poetic structures and elements play a significant role in many new media artworks – a fact that has been overlooked so far by both media studies and literary scholarship. The article investigates this new, complex interdisciplinary field in an exemplary analysis. To expand the application of literary studies to new developments in the arts, including new media art working with language, one has to acknowledge that orally performed texts are as complex in their aesthetic presentation and poetic signification as written and printed literary works, and are therefore to be viewed as just as relevant subjects of research.

   Jörgen Schäfer - 07.12.2012 - 15:58

9. Generating Narrative Variation in Interactiv Fiction

   A general method for the generation of natural language narrative is described. It allows the expression, or narrative discourse, to vary independently of the underlying events and existents that are the narrative’s content. Specifically, this variation is accomplished in an interactive fiction (IF) system which replies to typed input by narrating what has happened in a simulated world. IF works have existed for about 30 years as forms of text-based computer simulation, instances of dialog systems, and examples of literary art. Theorists of narrative have carefully distinguished between the level of underlying content (corresponding to the simulated world in interactive fiction) and that of expression (corresponding to the textual exchange between computer arnd user) since the mid-1960s, when the field of narratology began to develop, but IF systems have not yet made use of this distinction. The current project contributes new techniques for automatic narration by building on work done in computational linguistics, specifically natural language generation, and in narratology.

   Scott Rettberg - 13.12.2012 - 20:01

10. Travels in Cybertextuality. The Challenge of Ergodic Literature and Ludology to Literary Theory

    The dissertation’s main point of departure is the clash between explicit and implicit presuppositions, conceptualisations and generalisations in print-oriented literary theoretical paradigms and a plenitude of empirically verifiable anomalies and counter-examples to them found in digital and ergodic works of literature. The behaviour of these counter-examples is explained by cybertext theory that addresses the often neglected issue of the variety of literary media. Both the empirical counter-examples and the empirically verifiable differences in the behaviour of literary media allow us to expand and modify literary theories to suit not just one traditionally privileged media position but all of them. Therefore, in the first half of the dissertation, literary theory and narratology are viewed and modified from the perspective of slightly revised cybertext theory. In this process theories of ergodic and non-ergodic literature are integrated more closely and several so far non-theorized ways of manipulating narrative time, regulating narrative information, and generating narrative instances are located and theorized.

    Scott Rettberg - 13.12.2012 - 21:45

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