Perspectives on Ergodic Literature. Johns Hopkins University Press, 1997
Total Page:16
File Type:pdf, Size:1020Kb
181 Works Cited & Bibliography AARSETH, E. Cybertext: Perspectives on Ergodic Literature. Johns Hopkins University Press, 1997. ANGEL, M. & GIBBS, A. “Memory and Motion: The Body in Electronic Writing” IN GENDOLLA, P. & SCHÄFER, J. (Orgs.) Beyond the Screen: Transformations of Literary Structures, Interfaces and Genres, Bielefeld: Transcript Verlag, 2010. ATTRIDGE, D. The Singularity of Literature. London: Routledge, 2004. BAETENS, J. & LOOY, J. “Close Reading Electronic Literature” IN Close Reading New Media: Analyzing Electronic Literature. Leuven: Leuven University Press, 2003. BARK, K. “Materiality, Materialism, Performance” IN PFEIFFER, K. & GUMBRECHT, H. U. (orgs.) Materialities of Communication. Tr. William Whobey. Stanford: Stanford University Press, 1994. BAUMGÄRTEL T. “ L'art pour net.art” IN Net.Art 2.0: New Material Towards Net Art, Nürnberg 2001. BEIGUELMAN, G. “The Reader, the Player and the Executable Poetics: Towards a Literature Beyond the Book” IN GENDOLLA, P. & SCHÄFER, J. (Orgs.) Beyond the Screen: Transformations of Literary Structures, Interfaces and Genres, Bielefeld: Transcript Verlag, 2010. BOLTER, J. D. Writing Space: Computers, Hypertext and the Remediation of Print. New Jersey: Lawrence Erlbaum Associates Publishers, 1991. BOLTER J.D. & GRUSIN, R. Remediation: Understanding New Media.1999. BOURRIAUD, N. Relational Aesthetics. Les Press Du Reel, 2002. BÜRGER, P. Theory of the Avant-Garde. Minneapolis: The University of Minnesota Press, 2009. BURROUGHS, W. “The Cut-Up Method.” IN WARDRIP-FRUIN, N. & MONTFORT, N. (Orgs.) The New Media Reader. Cambridge, MIT Press, 2003. CULLER, J. Literary Theory. New York: Sterling, 2009. CAYLEY, J. “The Code is not the Text (unless it is Text).” Electronic Book Review, 2002. (http://www.electronicbookreview.com/thread/electropoetics/literal) 182 ___________. “Overboard: An Example of Ambient Time-Based Poetics in Digital Art.” (www.dichtung-digital.org/2004/2-Cayley.htm) ___________. “Time Code Language: New Media Poetics and Programmed Signification” IN MORRIS, A. SWISS, T. (Orgs.) New Media Poetics: Contexts, Technotexts, and Theories. Cambridge: MIT Press, 2006. pp. 307-333. ___________. “The Gravity of the Leaf: Phenomenologies of Literary Inscription in Media-Constituted Diegetic Worlds” IN GENDOLLA, P. & SCHÄFER, J. (Orgs.) Beyond the Screen: Transformations of Literary Structures, Interfaces and Genres, Bielefeld: Transcript Verlag, 2010. ___________. http://homepage.mac.com/shadoof/net/in/incat.html#BUNB. CAMPOS, A. ET AL. “Plano-Piloto para Poesia Concreta” - Manifesto da Poesia Concreta publicado em Noigrandres, n. 4, São Paulo, 1958. IN. TELLES, G. M. Vanguarda Européia e Modernismo Brasileiro: Apresentação Critica dos Principais Manifestos Vanguardistas. Petrópolis: Vozes, 1992. CHATMAN, S. Story and Discourse: Narrative Structure in Fiction and Film. Ithaca: Cornell University Press, 1980. CHARTIER, R. Os Desafios da Escrita. (Translated: Fulvia Moretto). São Paulo: Editora UNESP, 2002. COOVER, R. “The End of Books” IN WARDRIP-FRUIN, N. & MONTFORT, N. (Orgs.) The New Media Reader. Cambridge, MIT Press, 2003. COOVER R. ET AL SCREEN: BODILY INTERACTION WITH TEXT IN IMMERSIVE VR, 2005 Screen sketch for ACM SIGGRAPH 2004. DARLEY, A. Visual Digital Culture. Surface Play and Spectacle in New Media Genres. New York: Routledge, 2000. DELEUZE, G. & GUATTARI, F. A Thousand Plateaus: Capitalism and Schizophrenia. (Translated: B. Massumi). Minneapolis: University of Minnesota Press, 1987. DERRIDA, J. De la Grammatologie. Paris: Les Etions de Minuit, 1967. ___________. Archive Fever: A Freudian Impression. Diacritics Vol. 25 No. 2. Summer, 1995. DELEUZE, G. Les Cours de Gilles Deleuze. Deleuze / Spinoza. Cours Vincennes: 24/01/1978. DOUGLAS, Y. J. The End of Books -- Or Books Without End?: Reading Interactive Narratives. Michigan: The University of Michigan, 2004. 183 DOURISH, P. Where the Action Is: The Foundations of Embodied Interaction. 2001. ECO, U. Open Work (Opera Averta). Cambridge: Harvard University Press, 1989. ELKINS, J. “Foreword” Telepresence and Bio Art: Networking Humans, Rabbits and Robots. Michigan: The University of Michigan Press, 2005. ESKELINEN, M. “Six Problems in Search of a Solution: The Challenge of Cybertext Theory and Ludology to Literary Theory”. IN GENDOLLA, P. & SCHÄFER, J. (Orgs.) The Aesthetics of Net Literature: Writing, Reading and Playing in Programmable Media. Bielefeld: Transcript Verlag (Media Upheavals) 16, 2007. FINIZOLLA, F. “Poesia Concreta Contemporânea: Novas Interferências do Meio Digital”, 2009. FIEDLER, L. “Cross the Border – Close the Gap.” IN. The New Fiedler Reader. New York: Prometheus Books, 1999. FINKE. P. Visão geral do funcionalismo construtivo. IN OLINTO, Heidrun Krieger. Ciência da literatura empírica. Uma alternativa. Rio de Janeiro: Tempo Brasileiro, 1989, p. 71-92 FISH, S. Is There a Text in This Class?: The Authority of Interpretative Communities. Cambridge: Harvard UP, 1980. FOUCAULT, M. As Palavras e as Coisas (Les Mots et Les Choses). (Translated to Portuguese: Salma Tannus Muchail.) São Paulo: Martins Fontes, 2002. ___________. (1994), « Qu’est-ce qu’un auteur ? ». IN Dits et écrits, Paris, Gallimard, vol. I, p. 792. (“O que é um autor?” Translated: Antonio F. Cascais & Edmundo Cordeiro, Vega, 1992, p. 34). FUNKHOUSER, C. “Kissing the Steak: The Poetry of Text Generators” IN RICARDO (ed.) Literary Art in Digital Performance: Case Studies in New Media Art and Criticism. New York, Continuum, 2009. GENDOLLA, P. & SCHÄFER, J. “Playing with Signs: Towards an Aesthetics Theory of Net Literature.” IN GENDOLLA, P. & SCHÄFER, J. (Orgs.) The Aesthetics of Net Literature: Writing, Reading and Playing in Programmable Media. Bielefeld: Transcript Verlag (Media Upheavals) 16, 2007. ___________. “Reading (in) the Net”. IN SIMANOWSKI ET. AL (Orgs.) Reading Moving Letters: Digital Literature in Research and Teaching. Bielefeld: Transcript Verlag (Media Upheavals 40), 2010. 184 ___________. “Introduction” IN GENDOLLA, P. & SCHÄFER, J. (Orgs.) Beyond the Screen: Transformations of Literary Structures, Interfaces and Genres. Bielefeld: Transcript Verlag, 2010. GENETTE, G. Palimpsestes. La Littérature au Second Degré. Paris: Editions du Seuil, 1982. ___________. Narrative Discourse: An Essay in Method. Ithaca: Cornell University Press, 1980. ___________. Figures III. Paris: Éditions du Seuil, 1972. GORNER P. Heidegger's Being and Time: An Introduction. New York: Cambridge University Press, 2007. GRAU, O. MediaArtHistories. (Leonardo Books) Cambridge: MIT Press, 2006. GREENBERG, C. Avant-Garde and Kitsch, 1961 IN Art and Culture: Critical essays, 3-21. Boston: Beacon Press. GUMBRECHT, H. U. “Cascatas da Modernidade” IN Modernização dos Sentidos. São Paulo: Ed. 34, 1998. ___________. “‘Mundo Cotidiano’ e ‘Mundo da Vida’ como Conceitos Filosóficos: uma Abordagem Genealógica.” IN Modernização dos Sentidos. São Paulo: Ed. 34, 1998. ___________. “Espaços de Tempos Pós-Modernos” IN Modernização dos Sentidos. São Paulo: Ed. 34, 1998. ___________. “Narrating the Past As if It Were Your Own Time: An Essay on the Anthropology of Historiography.” IN Making Sense in Life and Literature. Minneapolis: U. Minnesota Press, 1992. ___________. “The Consequences of an Aesthetics of Reception: A Deferred Overture.” IN Making Sense in Life and Literature. Minneapolis: U. Minnesota Press, 1992. ___________. “Pathologies in the System of Literature.” IN Making Sense in Life and Literature. Minneapolis: U. Minnesota Press, 1992. ___________. Production of Presence: What Meaning Cannot Convey. Stanford: Stanford University Press, 2004. ___________. “Produção de Presença Perpassada de Ausência: Sobre Música, Libreto e Encenação” In. Palavra 7. Volume Temático: Como Falar de Literatura Hoje? (Org. Heidrun Krieger Olinto). Rio de Janeiro: Terapa, 2001. 185 ___________. “A Farewell to Interpretation.” IN. PFEIFFER, K. & GUMBRECHT, H. U. (orgs.) Materialities of Communication. (Translated: William Whobey.) Stanford: Stanford University Press, 1994. ___________. “After Learning from History” & “Being in the Worlds of 1926” IN In 1926: Living on the Edge of Time. Cambridge, Harvard University Press, 1997. HANSEN, M. B. Bodies in Code. London: Routledge, 2006. ___________. “The Affective Topology of New Media Art.” IN New Philosophy for New Media, MIT Press 2004. HARROWAY, D. “A Cyborg Manifesto: Science, Technology, and Socialist Feminism in the Late Twentieth Century.” IN WARDRIP-FRUIN, N. & MONTFORT, N. (Orgs.) The New Media Reader. Cambridge, MIT Press, 2003. HAYLES, K. How We Became Posthuman: Virtual Bodies in Cybernetics, Literature and Informatics. Chicago: The University of Chicago Press, 1999. ___________. Electronic Literature: New Horizons for the Literary. Indiana: The University of Notre-Dame, 2008. ___________. “Virtual Bodies and Flickering Signifiers.” (http://www.english.ucla.edu/faculty/hayles/Flick.html) ___________. My Mother Was a Computer: Digital Subjects and Literary Texts. Chicago: The University of Chicago Press, 2005. ___________. “RFID: Human Agency and Meaning in Information-Intensive Environments.” IN GENDOLLA, P. & SCHÄFER, J. (Orgs.) Beyond the Screen: Transformations of Literary Structures, Interfaces and Genres. Bielefeld: Transcript Verlag, 2010. ___________. “The Time of Digital Poetry: From Object to Event.” IN MORRIS, A. SWISS, T. (Orgs.) New Media Poetics: Contexts, Technotexts and Theories. Cambridge: MIT Press, 2006. HAVELOCK, E. The Muse Learns to Write: Reflections on Orality and Literacy from Antiquity