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Narrative in Social Media
Stories broadcast in 140 or less characters over the course of a day may, at first, seem only a 21st century update of serialized micro-fiction, yet considering the strategies authors take to produce literary works involving social media, their creations resist easy definition. This paper looks the broad notion of narrative as it plays out in the social networking site, Twitter, in works such as Adam Higgs et al’s “Crushing It: A Social Media Love Story," Jay Bushman’s “The Good Captain,” and Dene Grigar’s “The 24-Hour Micro-Elit Project.” Specifically, the paper asks two questions: First, how do narratives created for social media sites work against what has become the conventional way to describe e-literature? Second, what do we learn about social media literature if we think about it in terms of non-narrativity? At stake are assumptions about what constitutes electronic literature and conventional views about narrativity in relation to works produced with and for digital media.
(Source: author's abstract)
Eric Dean Rasmussen - 13.09.2011 - 15:34
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CityFish
CityFish is a hybrid word, title of a hybrid work, tale of a hybrid creature. Part classical parable, part children’s picture book, CityFish is a web-based intertextual hypermedia transmutation of Aesop’s Town Mouse Country Mouse fable. Winters, Lynne freezes in Celsius in the fishing village of Brooklyn, Nova Scotia (Canada), a few minutes walk from a white sandy beach. Summers, she suffers her city cousins sweltering in Fahrenheit in Queens, New York (USA). Lynne knows everyone knows it’s supposed to be the other way around. Lynne is a fish out of water. In the country, her knowledge of the city separates her from her school of friends. In the city, her foreignness marks her as exotic. Meanwhile, the real city fish lie in scaly heaps on long ice-packed tables in hot and narrow Chinatown streets. CityFish represents asynchronous relationships between people, places, perspectives and times through a horizontally scrolling browser window, suggestive of a panorama, a diorama, a horizon line, a skyline, a timeline, a Torah scroll.
J. R. Carpenter - 07.10.2011 - 15:10
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New Narratives: Stories and Storytelling in the Digital Age
Just as the explosive growth of digital media has led to ever-expanding narrative possibilities and practices, so these new electronic modes of storytelling have, in their own turn, demanded a rapid and radical rethinking of narrative theory. This timely volume takes up the challenge, deeply and broadly considering the relationship between digital technology and narrative theory in the face of the changing landscape of computer-mediated communication.
New Narratives reflects the diversity of its subject by bringing together some of the foremost practitioners and theorists of digital narratives. It extends the range of digital subgenres examined by narrative theorists to include forms that have become increasingly prominent, new examples of experimental hypertext, and contemporary video games. The collection also explicitly draws connections between the development of narrative theory, technological innovation, and the use of narratives in particular social and cultural contexts.
Scott Rettberg - 14.10.2011 - 12:52
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All Together Now: Hypertext, Collective Narrative, and Online Collective Knowledge Communities
Revision of essay previously titled "All Together Now: Collective Knowledge, Collective. Narratives, and Architectures of Participation."
This essay explores the history and methodologies of collective narrative projects, and their relationship to collective knowledge projects and methodologies. By examining different forms of conscious, contributory, and unwitting participation, the essay develops a richer understanding of successful large-scale collaborative projects. The essay then examines large-scale architectures of participation in Wikipedia and Flickr to extrapolate from those observations potential methodologies for the creation of collective narratives.
Scott Rettberg - 14.10.2011 - 13:01
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“How Do I Stop This Thing?” Closure And Indeterminacy In Interactive Narratives
Early critical article on narrative closure in both print and hypertext fiction that was developed into the book End of Books, Books without End. Provides an early and influential analysis of Joyce's afternoon, a story.
Jill Walker Rettberg - 15.10.2011 - 20:26
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Digital Literature: From Text to Hypertext and Beyond
In this study, I have chosen "hypertext" as the central concept. If we define hypertext as interconnected bits of language (I am stretching Ted Nelson's original definition quite a lot, but still maintaining its spirit, I believe) we can understand why Nelson sees hypertext "as the most general form of writing". There is no inherent connotation to digital in hypertext (the first hypertext system was based on microfilms), but it is the computerized, digital framework - allowing the easy manipulation of both texts and their connections - which gives the most out of it. In addition to the "simple" hypertexts, there is a whole range of digital texts much more complex and more "clever", which cannot be reduced to hypertext, even though they too are based on hypertextuality. Such digital texts as MUDs (Multi User Domains - text based virtual realities) are clearly hypertextual - there are pieces of text describing different environments usually called "rooms" and the user may wander from room to room as in any hypertext.
Jill Walker Rettberg - 15.10.2011 - 21:30
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Aesthetics and Literature: A Problematic Relation?
The paper argues that there is a proper for literature within aesthetics but that care must be taken in identifying just what the relation is. In characterising aestehtic pleasure associating with literature it is all too easy to fall into reductive accounts, for example, of literature of merely "fine writing". Bellelettrist or formalistic accounts of literature are rejected, as are to other kinds of reduction, to pure meaning properties and to a kind of narrative realism. The idea is developed that literature - both poetry and prose fiction - invites its own distinctive kind of aesthetic appreciation which far from being at odds with critical practice, in fact chimes well with it.
Kristina Gulvik Nilsen - 18.10.2011 - 14:05
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The History of Hypertext Authoring and Beyond: Interview with Stuart Moulthrop
Malloy's interview with Moulthrop focuses on his early work, his entrée into writing hypertext and his hypertext novel Victory Garden, the "mostly mythical" artists' collective TINAC, and one of his later works, Under Language. The interview appears on the Authoring Software project.
Scott Rettberg - 20.10.2011 - 09:42
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Stuck in a Loop? Dialogue in Hypertext Fiction
"This paper will focus on the use of dialogue in two early hypertext fictions. Both Michael Joyce's afternoon, a story (first published 1987) and Yellowlees Douglas's I Have Said Nothing (1994) have achieved near-canonical status having been excerpted in print in the Norton anthology Postmodern American Fiction (Geyh). As is often the case with hypertext fictions, the writers, Jane Yellowlees Douglas and Michael Joyce, also happen to be two of the foremost theorists of the form, and the sense of mutual influence is unavoidable. The aims of this paper are twofold: to explore the functions of dialogue in these fictions and the extent to which the representations are innovative; and to examine whether we need to reassess our models for understanding the functions and forms of fictional dialogue as we have begun to apply them to the print novel." (Source: taken from the first paragraph of the paper itself)
Jill Walker Rettberg - 01.11.2011 - 12:13
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Web 2.0 Storytelling: Emergence of a New Genre
Overview of dozens of examples of what the authors call "Web 2.0 Storytelling" - narratives told on Facebook, Twitter, YouTube and other social media.
Jill Walker Rettberg - 01.11.2011 - 13:48
