Animation and manipulation figures in digital literature and the poetics of (de-)coherence.
Like most authors of digital works of the narrative genre, Gregory Chatonsky is opposed to the idea that plots should be written according to the novelistic traditions. His hyperfiction entitled The Subnetwork is no exception. For the clash of heterogeneous media in this work to produce a ‘community...
| Publicado en: | Literary & Linguistic Computing Vol. 27; no. 3; pp. 321 - 331 |
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| Formato: | Artículo |
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Oxford University Press / USA
Sep2012
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=80412603&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 80412603 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 02681145 BJ1 jtl: Literary & Linguistic Computing issn: 02681145 maglogo: N pubinfo: dt: Sep2012 vid: 27 iid: 3 pid: 622 pub: Oxford University Press / USA artinfo: ui: 80412603 10.1093/llc/fqs027 ppf: 321 ppct: 10 formats: fmt: @attributes: type: P size: 599KB tig: atl: Animation and manipulation figures in digital literature and the poetics of (de-)coherence. aug: au: Saemmer, Alexandra affil: University Paris 8, France su: Hypertext literature Computer-generated imagery Poetics Manipulative behavior in literature Chatonsky, Grégory sug: subj: Hypertext literature Computer-generated imagery Poetics Manipulative behavior in literature Chatonsky, Grégory ab: Like most authors of digital works of the narrative genre, Gregory Chatonsky is opposed to the idea that plots should be written according to the novelistic traditions. His hyperfiction entitled The Subnetwork is no exception. For the clash of heterogeneous media in this work to produce a ‘community of metaphors’, as opposed to a dialectical reasoning or a conventional narrative, every single media must be indifferently compatible with each other. Occasional relationships are thus established between different worlds, different parts of individual and collective history, which highlights a more fundamental relation of co-membership, where heterogeneous elements are always likely to assemble according to the ‘brotherhood of a new metaphor’ (Rancière, 2003, Le destin des images. Paris: La Fabrique, p. 67). The range of metaphorical brotherhood yet widens in The Subnetwork, through the introduction of animated texts and the possibility that readers are given to ‘manipulate’ (interact with) the work. Using a semio-pragmatic methodology developed at University Paris 8, I will first examine in detail the construction of meaning in these combinations between texts and movement or manipulation and their relationship with the contexts in a reading process. Digital literature often experiments with unexpected combinations based on a (de-)coherence between text, movement, and manipulation gestures, called animation figures and manipulation figures: I would situate a part of the poetic potential of digital literature in these ‘spaces of indeterminacy’. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: © 2019 EADH: The European Association for Digital Humanities. item: Literary & Linguistic Computing holder: Oxford University Press / USA dt: @attributes: year: 2012 holdings: @attributes: islocal: N |
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