By Ray Siemens, Susan Schreibman
This Companion deals an intensive exam of the way new applied sciences are altering the character of literary stories, from scholarly modifying and literary feedback, to interactive fiction and immersive environments.
- A entire assessment exploring the applying of computing in literary reviews
- Includes the seminal writings from the sector
- Focuses on tools and views, new genres, formatting concerns, and most sensible practices for electronic renovation
- Explores the hot genres of hypertext literature, installations, gaming, and net blogs
- The Appendix serves as an annotated bibliography
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Her flesh speaks true. She lays herself bare. In fact, she physically materializes what she’s thinking; she signifies it with her body. In a certain way she inscribes what she’s saying, because she doesn’t deny her drives the intractable and impassioned part they have in speaking. Her speech, even when ‘‘theoretical’’ or political, is never simple or linear or ‘‘objectified,’’ generalized: she draws her story into history. (Cixous 1998: 1457–8) This story is also the history of encounter with new media.
14 For Le´vi-Strauss on Oedipus, see Le´vi-Strauss 1963. 15 I borrow these terms from Krapp, but without the full complexity with which he develops them (especially de´ja` vu). 16 Since writing his The Nature of the Book, Adrian Johns has researched contemporary media piracy in preparation for his next project on the history of intellectual piracy from the invention of printing to the internet. Johns has just completed the manuscript for his book entitled Piracy: Creativity, Commerce, and Crime from the Invention of Print to the Internet, which includes a chapter on ‘‘Gutenberg and the Samurai’’ (personal communication from Johns).
4. When fully realized in their historical, socio-political, and personal entanglements, the identity tales created by narratives of new media encounter are unpredictable. The real interest in narratives of new media encounter – the underlying reason I describe them in such unmoored terms as ‘‘borderlands,’’ ‘‘otherness,’’ and ‘‘surmise’’ – is that the historical, socio-political, and subjective registers of media identity described above are not just neutral substrates (like pure silicon) on which programs of determinism and resistance run.
A Companion to Digital Literary Studies by Ray Siemens, Susan Schreibman