A companion to digital literary studies by Ray Siemens, Susan Schreibman PDF

By Ray Siemens, Susan Schreibman

ISBN-10: 1118492277

ISBN-13: 9781118492277

ISBN-10: 1405148640

ISBN-13: 9781405148641

This Companion bargains an intensive 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 entire assessment exploring the appliance of computing in literary experiences
  • Includes the seminal writings from the sphere
  • Focuses on tools and views, new genres, formatting matters, and top practices for electronic upkeep
  • Explores the hot genres of hypertext literature, installations, gaming, and net blogs
  • The Appendix serves as an annotated bibliography

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2001). Radiant Textuality: Literature after the World Wide Web. New York: Palgrave. McLuhan, M. (1994). ’’ In M. McLuhan, Understanding Media: The Extensions of Man. Cambridge, MA: MIT Press, pp. 7–21. —— , and Q. Fiore (1967). The Medium is the Massage. Rpt. New York: Touchstone, 1989. Mitchell, W. J. T. (1986). Iconology: Image, Text, Ideology. Chicago: University of Chicago Press. —— (2002). ’’ In N. ). The Visual Culture Reader, 2nd edn. London: Routledge, pp. 86–101. Nakamura, L. (2002). Cybertypes: Race, Ethnicity, and Identity on the Internet.

75–163. Krapp, P. (2004). De´ja` Vu: Aberrations of Cultural Memory. Minneapolis: University of Minnesota Press. —— (2006). ’’ In W. Chun and T. ). Old Media, New Media: A History and Theory Reader. London: Routledge, pp. 357–71. Lanier, Jaron (2006). ’’ Edge. Edge Foundation, Inc. 30 May. html>. Accessed September 9, 2006. Le´vi-Strauss, C. (1963). ’’ In Structural Anthropology (C. Jacobson and B. G. ). New York: Basic Books, pp. 206–31 (Original book published 1958). —— (1973). Tristes tropiques ( J.

Protagonist and antagonist (sometimes the same, as in the case of Oedipus) face off symmetrically, armed with equivalent, if incommensurable, claims and powers. Then the story breaks the symmetry to distribute the contested claims and powers along the irreversible time arrow so that, for example, he who was high is brought low. Yet at the end, tragedy leaves its audience haunted by a sense of transport back to the reversible crux where, eternally, fateful agony hangs in the balance. ’’ because the very repetition of the question suggests that the only humanly meaningful answer to the existential binary calculation (‘‘to be or not to be’’; Richard II’s ‘‘ay, no; no, ay’’) is not a reckoning at all but the suspension of decision in eternal, reversible abeyance.

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