By Ray Siemens, Susan Schreibman
This Companion deals an in depth exam of the way new applied sciences are altering the character of literary reviews, from scholarly enhancing and literary feedback, to interactive fiction and immersive environments.
- A whole review exploring the appliance of computing in literary stories
- Includes the seminal writings from the sphere
- Focuses on tools and views, new genres, formatting matters, and most sensible practices for electronic protection
- Explores the recent genres of hypertext literature, installations, gaming, and internet blogs
- The Appendix serves as an annotated bibliography
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Extra info for A companion to digital literary studies
12 But there is also a strong version of this thesis that will provide an appropriately dramatic finish to this synopsis of the new media encounter: narratives of new media encounter are reversible. Indeed, reversibility is the fundamental reason why it is appropriate to call such narratives modally ‘‘narrative’’ even if they are generically as diverse as anecdote, memoir, autobiography, travelogue, prophecy, critical essay, and so on. After all, deep narratives – those like tragedy that we think come near to exposing the kernel of narrative experience – do only three essential things.
The Nature of the Book: Print and Knowledge in the Making. Chicago: University of Chicago Press. Kirschenbaum, M. G. (forthcoming). Mechanisms: New Media and Forensic Imagination. Cambridge, MA: MIT Press. 2013 1:41pm Compositor Name: ARaju 24 Alan Liu Kittler, F. A. (1990). Discourse Networks, 1800/ 1900 (M. Metteer with C. ). Stanford: Stanford University Press (Original work published 1985). —— (1999). Gramophone, Film, Typewriter (G. Winthrop-Young and M. ). Stanford: Stanford University Press (Original work published 1986).
Also apropos is Jerome McGann’s notion of ‘‘deformance,’’ according to which technological apparatuses or Oulipo-like textual constraints can expose surprising, hidden logics in the processing of old by new media technologies (especially the chapter in Radiant Textuality on ‘‘Rethinking Textuality’’ as well as the chapter co-written with Lisa Samuels on ‘‘Deformance and Interpretation’’). McLuhan fairly consistently respected the usage difference between ‘‘medium’’ (singular) and ‘‘media’’ (plural).
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