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Footnotes in Fiction: a Rhetorical Approach
FOOTNOTES IN FICTION: A RHETORICAL APPROACH DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Edward J. Maloney, M.A. * * * * * The Ohio State University 2005 Dissertation Committee: Approved by Professor James Phelan, Adviser Professor Morris Beja ________________________ Adviser Professor Brian McHale English Graduate Program Copyright by Edward J. Maloney 2005 ABSTRACT This study explores the use of footnotes in fictional narratives. Footnotes and endnotes fall under the category of what Gérard Genette has labeled paratexts, or the elements that sit above or external to the text of the story. In some narratives, however, notes and other paratexts are incorporated into the story as part of the internal narrative frame. I call this particular type of paratext an artificial paratext. Much like traditional paratexts, artificial paratexts are often seen as ancillary to the text. However, artificial paratexts can play a significant role in the narrative dynamic by extending the boundaries of the narrative frame, introducing new heuristic models for interpretation, and offering alternative narrative threads for the reader to unravel. In addition, artificial paratexts provide a useful lens through which to explore current theories of narrative progression, character development, voice, and reliability. In the first chapter, I develop a typology of paratexts, showing that paratexts have been used to deliver factual information, interpretive or analytical glosses, and discursive narratives in their own right. Paratexts can originate from a number of possible sources, including allographic sources (editors, translators, publishers) and autographic sources— the author, writing as author, fictitious editor, or one or more of the narrators. -
The End of Books—Or Books Without End? Front.Qxd 11/15/1999 9:04 AM Page Ii Front.Qxd 11/15/1999 9:04 AM Page Iii
front.qxd 11/15/1999 9:04 AM Page i The End of Books—or Books without End? front.qxd 11/15/1999 9:04 AM Page ii front.qxd 11/15/1999 9:04 AM Page iii The End of Books—Or Books without End? Reading Interactive Narratives J. Yellowlees Douglas Ann Arbor The University of Michigan Press front.qxd 11/15/1999 9:04 AM Page iv Copyright © by the University of Michigan 2000 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2003 2002 2001 2000 4 3 2 1 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data applied for ISBN 0-472-11114-0 (cloth: alk. paper) front.qxd 11/15/1999 9:04 AM Page v Acknowledgments In 1986 John McDaid, then a fellow graduate student at New York University, suggested I meet Jay Bolter, who arrived bearing a 1.0 beta copy of Storyspace. When he opened the Storyspace demo document to show McDaid and I a cognitive map of the Iliad represented as a hypertext, my fate was clinched in under sixty seconds. I had seen the future, and it consisted of places, paths, links, cognitive maps, and a copy of afternoon, a story, which Jay also gave us. -
Enactment in Information Farming
T*@ Ibkffiblg Enactment in Information Farming Mark Bernstein Eastgate Systems, Inc. PO BOX 1307 Cambridge MA 02238 USA +1 (617) 924-9044 Eastgate@ world. std.com ABSTRACT Information farming views the cultivation of information as a continuing, collaborative activity performed by groups of people working together to achieve changing individual and common goals. Failure to differentiate information farming from related but distinct activities like information mining and data factories has been a fruitful source of misunderstanding and discord in the hypertext literature and in the design of hypertext environments. Dramatic enactment and visual salience — not recall, precision, or usability— assume primary roles in design for information gardening. In this technical briefing, we examine how enactment contribute to the success and failure of a variety of Hypergate and Story space features. KEYWORDS Design, rhetoric, enactment, collaboration, information farming INFORMATION FARMING Three fundamentally different and incompatible metaphors (pace [Halasz 82]!) shape both the design of hypertext systems and the rhetorical styles in which these designs are proposed and defended. Information Mining views pertinent information as a valuable resource to be efficiently extracted and refined. Successful mining tools are those which can most quickly extract valuable nuggets of precious fact from large repositories of base data, and the classic measures of successful mining are recall, precision, and cost [Salton 83]. Information Manufacturing views the acquisition, refinement, assembly and maintenance of information as a con- tinuous enterprise. employing teams of specialists to implement acquisition procedures and management strategies. In contrast to mining, with its individualistic emphasis on seizing information and opportunity, the rhetoric of the in- formation factory values continuity of process over individual entrepreneurship. -
48. You Say You Want a Revolution? Hypertext
1991 48. You Want a Revolution ◊01 Moulthrop is also the author 29 of well-known hypertext 48. [Introduction] fictions (e.g., Victory Garden, Reagan Library) and of a widely-discussed, You Say You Want a Revolution? unpublished experiment in extending Jorge Luis Borges’s Hypertext and the Laws of Media “Garden of Forking Paths” (◊01) into hypertext ⊗. The revolution hasn’t been adequately televised—or Webcast, for that matter. There are disturbing ◊11 visions put forth in new media’s revolutionary banter: Ted Nelson’s dream of a McDonald’s-inspired 133 world hypertext chain, Clifford Stoll’s acceptance of government information surveillance as if it were silicon snake oil for the soul—and these are just some of the ideas coming from guys who are on our side. If there’s any hope we can hold out for what will eventually become reality—or tomorrow’s particular level of mediated hyperreality—it can only been seen, in Stuart Moulthrop’s view, by subjecting the essential qualities of a particular new medium to scrutiny. Applying McLuhan’s plan for a four-part media interrogation, Moulthrop noted several qualities of one particular new media format, hypertext, which indeed were borne out over the following decade. ◊19 (McLuhan’s four questions, of course, can similarly be applied to other specific digital media.) By 277 placing the new medium against others, and considering how it might function in the extreme, ◊21 301 certain assumptions previously taken for granted were upset. Moulthrop pointed out, for instance, that hypertext does not replace the book—it’s more likely a replacement for TV. -
"Hypertext Fiction Ever After." Electronic Literature As Digital Humanities: Contexts, Forms, & Practices
Moulthrop, Stuart. "Hypertext Fiction Ever After." Electronic Literature as Digital Humanities: Contexts, Forms, & Practices. By James O’Sullivan. New York,: Bloomsbury Academic, 2021. 150–162. Bloomsbury Collections. Web. 1 Oct. 2021. <http:// dx.doi.org/10.5040/9781501363474.ch-013>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 1 October 2021, 22:58 UTC. Copyright © Volume Editor’s Part of the Work © Dene Grigar and James O’Sullivan and Each chapter © of Contributors 2021. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 13 Hypertext Fiction Ever After Stuart Moulthrop There are at least two ways to sketch the genealogy of hypertext fiction. From the perspective of literary theory, most influentially in Aarseth’s Cybertext (1997), hypertext fiction counts as one among many instances of ergodic expression. This broad-minded approach allows us to associate the form with a number of distinct but similar ventures, such as Malloy’s query- based “narrabase” stories, John McDaid’s “modally appropriate” artefictual fiction, various attempts at text generation, from the ELIZA script of the late 1960s to Daniel Stern and Michael Mateas’ Façade—and perhaps most significantly, the long tradition of text-based computer gaming, beginning with Colossal Cave Adventure in the mid-1970s and continuing today. Electronic literature and digital art contain many forms and practices besides hypertext fiction. If we want to consider both tree and forest, we need to see this genre as a machinic inflection of the general project of experimental writing. -
READING VICTORY GARDEN Competing Interpretations and Loose Ends
READING VICTORY GARDEN Competing Interpretations and Loose Ends Raine Koskimaa Stuart Moulthrop’s Victory Garden (1991) is one of the ”classical hyperfic- tions” alongside Michael Joyce’s Afternoon (1987) and Shelley Jackson’s Patchwork Girl (1993). Of these three, however, Victory Garden has been all but neglected by the critics – while especially Afternoon has been the subject of a number of detailed analyses, Victory Garden has been mainly shortly referred to, receiving mentions as a more traditional, typical aca- demic novel etc. There are, though, several reasons to pay closer attention to this tour de force of one of the most innovative and prolific hyperfiction authors so far. Moulthrop’s digital oeuvre is wide ranging. He first started with an ad- aptation of Jorge Luis Borges’ short story ”The Garden of Forking Paths” (which included a mass of original text in addition to Borges’ source story) using software he had programmed himself for this purpose. He later trans- ferred the text to the brand new Story Space hypertext environment – the work and its reception by a group of students is described in Moulthrop’s influential essay ”Reading from the Map: Metonymy and Metaphor in the Fiction of ’Forking Paths’” (1991). Victory Garden was published in 1991. After that Moulthrop has done mainly Web-based works, including The Colour of Television (1996; with Sean Cohen), Hegirascope (1995/1997), and Reagan Library (1999). Hegirascope effectively uses push technology to produce a stream of narrative fragments starting with the highly charged ”What if the word would not be still?” header. Reagan Library uses Quick Time VR plug-in to add a three-dimensional panorama illustration to the hypertext – the work can be navigated both through the panorama and text links. -
Stuart Moulthrop Curriculum Vitae - Page 2
Stuart Professor School of Information Arts and Technologies Moulthrop University of Baltimore Baltimore, Maryland U.S.A. 21201-5779 Contact Office: 410/837-5301 E-mail: smoulthrop at ubalt dot edu World-Wide Web: iat.ubalt.edu/moulthrop Education Ph.D. Yale University M.A. Yale University B.A. George Washington University Employment 2001-present: Professor, University of Baltimore 1994-2000: Associate Professor, University of Baltimore 1991-1994: Assistant Professor, Georgia Institute of Technology 1990-1991: Assistant Professor, University of Texas at Austin 1986-1990: Assistant Professor, Yale University 1984-1986: Acting Instructor, Yale University Grants, Liberal Arts Advisory Council Distinguished Chair, 2008-2011. Awards, Honors Ciutat de Vinaròs Prize for Electronic Narrative, 2007. Ciutat de Vinaròs Prize for Electronic Poetry (ex aequo), 2007. Visiting Researcher, Department of Humanistic Informatics, University of Bergen (Norway), 2007. Distinguished Chair in Research and Scholarship, Yale Gordon College of Liberal Arts, University of Baltimore, 2007-2008. Douglas Engelbart Award for Best Paper, Sixteenth ACM Conference on Hypertext and Hypermedia, Salzburg, Austria, 2005. National Science Foundation Grant EIA-0203323. "CRCD: An Human-Computer Interfaces (HCI) Partnership Serving Underrepresented Groups." 2002-2004, $420,000. [Co-Principal Investigator with Ben Bedersen, Allison Druin, Nancy Kaplan, and Kathryn Summers.] Stuart Moulthrop Curriculum vitae - page 2 Communications Studies International Fellow, Royal Melbourne Institute of Technology, 1998. Ellen Nold Award for Best Article in Computers and Composition Studies, 1991. [Shared with Nancy Kaplan.] Forthcoming "Watchmen Meets The Aristocrats" [article] Postmodern Culture 19.2 or In (Winter, 2009). Progress “Deep Surface" [multi-media cybertext]. The Electronic Literature Collection, Volume 2. Electronic Literature Organization.