Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 12

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  HYPERTEXT
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Content available remote

COLLABORATION IN E-LITERATURE: FROM “THE UNKNOWN” TO “PIKSEL ZDRÓJ”

100%
Pisarski M.
World Literature Studies
|
2016
|
vol. 8
|
issue 3
78 – 89
EN
Collaboration in e-literature, thanks to the interdisciplinary, intersemiotic and computational nature of the field, is a subject close to a vast majority of artists and critics. However, the particularities of the collaborative process are discussed mostly in interviews, panels and private conversations. The number of critical analyses and overviews is still relatively small. The aim of this article is to expand on the existing findings (especially Scott Rettberg’s reflection on the collaborative aspects of The Unknown and Nick Montfort’s arguments on collaborative programming), propose several new categories that may prove useful and introduce a Polish example of a collaborative creative work (the hypertext Piksel Zdrój authored by 8 writers, 2015). Of importance are also questions of identity of e-literature within a vast horizon of collaborative activities in game development, as well as the notion of authorship and authorial integrity, which literary collaboration in the digital realm puts to a heavy stress test. In my reflection, e-lit collaboration is situated within two contexts, one of which has been gaining prominence in recent years. On the one hand it is traditional collaboration in literature and film, on the other, collaboration in games and software. Posing questions about the place of e-literary collaboration among creative participation in other media – as I will demonstrate – might bring insights not only about the specificity of participatory activities in the field but also about the identity of electronic literature within the general cultural land-scape.
2

THE BELLES-LETTRES AND THE TURING'S MACHINE FLIRTATION

100%
Wojciechowski J.
Przegląd Humanistyczny
|
2005
|
vol. 49
|
issue 1(388)
81-94
EN
The electronic net, connected with the hypertext (HTML), creates a new communication system, including a new form of artistic expression called 'Liternet', derived from belles-lettres. The peculiarity of 'Liternet' texts is associative narrative instead of linearity and permanent interactivity with the recipient. The most innovative original forms are: associative prose, web-blogs and literary e-discussions. One may also recognize computer games as quasi-literary forms. All of them may transform into variants impossible in writing. Thus, 'Liternet' might be a separate means of artistic expression, parallel to traditional kinds.
3

All is Text? Hypertextuality As a New Literary Experience

100%
Bogaczyk-Vormayr M.
Teksty Drugie (Second Texts)
|
2008
|
issue 1-2
256-270
EN
This article deals with models of making literature in the internet. The authoress argues that Web literature and, more generally, hypertextuality is an issue of extreme importance to our contemporary literary theory and literary-critical studies. Limiting it to the sphere of interest in the media impoverishes the afterthought of understanding and interpretation of a literary text. Definitions of hypertextuality are presented and hypertextual projects (prose, lyrical poetry) traced. A thesis is formulated on hypertextuality as yet another implementation of intertextuality, as a broad concept. The authoress believes that hypertextuality is part of transformations of literary forms - of a broadly understood deconstruction of forms, and a new experience of language.
4
Content available remote

DIGITAL POSTMODERNISM: FROM HYPERTEXTS TO TWITTERATURE AND BOTS

100%
Pisarski M.
World Literature Studies
|
2017
|
vol. 9
|
issue 3
41 – 53
EN
The article attempts to highlight a major aesthetic shift that is taking place in electronic literature: born-digital literary production written and read on computers and smartphones. A large proportion of recent e-literature is not only disseminated via social networks but its form and content is increasingly being shaped by Facebook, Twitter and their preferred communication formats (tweets, posts, statuses). The experimental phase of electronic literature when contemporary writers were establishing their identity by relating their poetics and ideologies to those of the modernist avant-gardes of the 20th century (a trend labelled by Jessica Pressman as “digital modernism”) is giving way to a more ludic approach where e-literature is seeking out a larger audience via social media and in the language of social media (a tendency I call “digital postmodernism”). In the process, the scale and scope of a single work is being further compressed and the human author is being accompanied by non-human agents (network algorithms, bots). Is literature still literature, or perhaps – in this context and point of view – should we treat it as post-literature?
5
Content available remote

MIZNUTIE AUTORA A UTVÁRANIE VÝZNAMU

100%
Debnár M.
World Literature Studies
|
2016
|
vol. 8
|
issue 3
115 – 124
EN
The study is aimed at the analysis of the consequences of the disappearance of the author as a unifying principle organizing meaning and determining the interpretation of the text in the era of digital media and hypertext. It is based on the movement aimed at the displacement of the concept of the author from this dominant position, reflecting the approaches of thinkers such as U. Eco, R. Barthes and M. Foucault. These authors particularly understand the text as a space in which intertextual relations dominate and readership perception replaces the principle of the author. More than a natural extension of these considerations is the area of texts published in electronic version, which, according to J. D. Bolter, allow significantly greater fragmentation and differentiation than printed texts, which even more reinforces their perceptual aspects. Reconstruction or rather making of meaning in the process of reading is subject to certain specifics that are at the centre of our consideration because there also appears the spectre of what remained of the author, as some of his features are still present in the text. Consequently, we move to the description of double writing: writing the self and writing culture. Relying on Bolter’s as well as Foucault’s analysis, we can say that hypertext writing is an ongoing process of eclectic writing and self-publishing. It is exactly the way we acquire a new virtual identity that enables and stands in the basics of digital communities. If hypertext is a place of this constitutive practice of subjectification, this means not only a return to the origins of philosophy, that is to the practice of the care for the self, which it always has been, but also the beginning of a new era of reading, writing and thinking.
6
Content available remote

SLOVENSKÁ ELEKTRONICKÁ LITERATÚRA

100%
Husárová Z.
World Literature Studies
|
2016
|
vol. 8
|
issue 3
57 – 77
EN
The study maps and describes the production of electronic literature in the Slovak cultural environment. Even though it focuses on the era after communism, theoretical texts on the connections between cybernetics and arts, with discussions on the possibilities for literature and literary theory, dating from the 1950s onwards, are also presented. The study divides Slovak electronic literature according to the way the authors treated the digital text: whether they appropriated the existing one (Legel, Labuda, Barok, Gruska, Bartoš, Ivan, Husárová-Panák, Šicko), combined the appropriated text with their authorial text (Juhász, Kitta) or wrote their own text (Šulej, Murin, Juhász, Husárová – Panák).
7
Content available remote

READING FROM AND WRITING ON SCREENS: A THEORY OF TWO LITERATURES

88%
Yoo J., Szűts Z.
World Literature Studies
|
2016
|
vol. 8
|
issue 3
40 – 56
EN
In this paper we look at the subject of reading from and writing on screens, connected to the theory of two literatures. While reviewing the contemporary internationally wide-spanning and well received works on the history of literature, questions arise: why is the discussion on electronic literature not strongly represented yet, and why is the issue of reading from the screen only mentioned cursorily? In our opinion, the answer is to be found in the fact that there are two literatures currently in existence. We set out to prove this theory. In order to specify the theory of two literatures, in this article we (1) briefly cover the two tsunamis of hypertext reception and (2) deal with the notion of hypertext. To follow, (3) we bring typical examples of hypertext literature, all in order to better approach the issue of (4) reading from and (5) writing on screens. Then we take a brief look (6) at the theory of the iconic turn, in order to show how it can be applied to describe new media literature. The theoretical section is closed with (7) the introduction of a new, reader/writer function and attitude. Finally, (8) we present findings of a study conducted on reading from a screen, comparing the results to a previous survey. The article ends with our conclusion (9).
8

HYPERFICTION IN RUSSIAN CYBERSPACE (Hypertextova literatura v ruskom kulturnom prostredi)

88%
Pastekova S.
Slovak Review. A Review of World Literature Research
|
2008
|
vol. 17
|
issue 2
113-120
EN
Internet literature (Russian seteratura = set + literatura), following the rapid progress of the internet, has been present in Russia since the 1990s. The term seteratura defines all the written literature (fiction) - the works of the classical, contemporary, or foreign authors - published on the internet. Simultaneously emerging hyperfiction (mostly in the genre of poetry or novel) have become a specific type of the internet literature with an experimental character. These works are typical for their open, nonlinear textual structure, as well as for their anonymous collective authorship. Hypertext genre reached the ambition of an alternative artistic text of postmodern type, implementing the possibility of creative virtual authorship. To the first Russian hypertexts belong the novels by R. Leibov 'Novel' (1995), D. Manin 'The Garden of Divergent Hokkus' (1997), M. Kononenko (alias Mr. Parker) 'Mr. Parker's Loony Bin' (1996) etc. Hypertext is closely related with the phenomenon of virtual persona (Russian 'virtualnoi lichnosti', English also 'virtual identity', 'virtual character'), which has become during the last decade in Russia an official term of the internet culture, and individual literary-scientific category concerning the author and the way of creation (genre). The cultural-historical, aesthetical, but also social and psychological aspects of this phenomenon are analyzed by a contemporary Russian theoretician of cyberspace Eugene Gorny in his works 'Virtualnaya lichnost kak zhanr tvorchestva' (The Virtual Persona as a Creative Genre on the Russian Internet, 2007) and 'Ontologia virtualnoi lichnosti' (Ontology of Virtual Persona, 2007). Gorny centres mostly on the problematics of origin and functioning of the virtual authorship (of character, genre) in cyberspace, as well as on the questions of the relationship of virtual author (character) and his creator also regarding the connections with the traditional forms of art and literature.
9

The spatial mental model of hypertext

75%
Voros Z.
Magyar Pszichologiai Szemle (Hungarian Psychological Review)
|
2005
|
vol. 60
|
issue 3
395-409
EN
The systematic use of spatial metaphors suggests that we understand the organization of hypertext on a spatial basis. Numerous research has been directed towards revealing whether, in truth, we orientate ourselves spatially in hyperspace. Supportive of this argument is that hyperspace is arranged with attributes which make the formation of a spatial mental model possible. The further spatialization of the structure of hypertext, development based on the mental models of geographic spaces would effectively support the activity of navigation.
10
Content available remote

PATHS OF THE TEXT: FROM INTERMEDIALITY TO VISUALITY (Cesty textu: od intermediality k vizualite)

75%
Suwara B.
World Literature Studies
|
2010
|
vol. 2 (19)
|
issue 2
56-69
EN
The sceptics argue that a border persists between the textual and the visual in the new hypertext art. This critical position results not only from the empirical experience of a perceptive user of hypertext, but also from the need to promptly and at least partially address the problem of interpretation of textual and visual segments of literary projects received in an electronic environment without the authority of the traditional dichotomy between the textual and the visual. It seems problematic to ask whether the reader/user perceives textual segments in the new digital medium according to the conventions received from the culture of printed text and the visual segments according to the tradition of visual art, or differently. We could ask whether there exists an assumption according to which a reflective user could achieve 'high focus' on perceived textual and visual segments. Our working explanation of 'high focus' is based on the idea that 'high focus' results from the cooperation of information received at the same time by verbal and visual information channels. The authoress demonstrates the phenomenon of 'high focus' in fine art in the context of 'ecphrasis' and 'subversive ecphrasis' in the work with 'semantic enclave' (Snezna sova by Purkyne) by building on the project Shredder by M. Napier. The analysis confirms the argument by Didi-Huberman that visuality is a phenomenon that complicates the epistemological status of an image.
11
Content available remote

WHEN NEW MEDIA TURN OLD: TOWARDS OBJECT-ORIENTED TRANSLATION OF HISTORICAL DIGITAL LITERATURE

75%
Pisarski M.
World Literature Studies
|
2020
|
vol. 12
|
issue 1
82 – 96
EN
This article is a reflection on the possible future of translating the classics of “born digital” literature in the light of new developments in preservation, restoration and dissemination of digital cultural heritage. Open “software libraries” initiatives of the Internet Archive and a growing popularity of media labs and computer museums make it easy for contemporary audiences to read the old hypertext fiction and animated poetry in their original context. This recreated retro computing experience calls for a new perspective on translating digital classics. Pixelated constellations of rectangles on Story space maps, the minimalist palettes of Mac OS system sounds and colours – all these objects and artefacts, along with inherent meta-texts, para-texts and behaviours, can contribute to “the laws of the original” (W. Benjamin). A viable path of translation opens up which allows for experiencing the source work the way it was conceived and presented to its first audience. Additionally, the experience-driven approach can be also used in editorial and publishing projects which rely on remediation and trans-modal processes (from print to digital, from visual to aural). An exemplary project of a digital, educational edition of Adam Mickiewicz’s The Crimean Sonnets and its possible improvement by the experience-driven and object-oriented approach is analysed.
12
Content available remote

INTERACTIVITY AND RECEPTION. THE QUESTION OF HYPERMEDIAL, GEO-SPATIAL AND AUGMENTED LITERATURE

75%
Szűts Z., Yoo J.
World Literature Studies
|
2014
|
vol. 6 (23)
|
issue 4
18 – 31
EN
This article looks at the topic of hypermedia and geo-spatial and augmented literature from five angles. Firstly, it analyses the context where these phenomena first appeared, the New Media. Secondly, it presents the most important contemporary theories on the topic proposed by Lev Manovich, Stephen Wilson, Ronald T. Azuma and others. Thirdly, it discusses the issue of hypertext as defined by Ted Nelson, Roland Barthes, Charlie Green and George Landow. Fourthly, it examines the paradox of the limited appeal of hypertext and the simultaneous huge impact of hypermedia literature on readers. Finally, this article examines some examples of multimedia and geo-spatial and augmented literature. The conclusion of the article offers a way of approaching New Media literary practices.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.