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Nele Noppe

Chapter 1: Ergodic Literature - 0 views

www.hf.uib.no/...Ergodic.html

open_work fanwork internet phd phd_unfinished literature cybertext games

shared by Nele Noppe on 08 Sep 10 - Cached
  • Nele Noppe on 08 Sep 10
     
    espen aarseth
Nele Noppe

Cybertext - Wikipedia, the free encyclopedia - 0 views

en.wikipedia.org/Cybertext

open_work fanwork internet phd phd_unfinished literature

shared by Nele Noppe on 08 Sep 10 - Cached
  • Cybertext is based on the idea that getting to the message is just as important as the message itself. In order to obtain the message work on the part of the user is required. This may also be referred to as nontrivial work on the part of the user.[2]
  • The fundamental idea in the development of the theory of cybernetics is the concept of feedback: a portion of information produced by the system that is taken, total or partially, as input.
Nele Noppe

Electronic Literature: What is it? - 0 views

eliterature.org/elp.html

literature hypertext open_work phd phd_unfinished to_read

shared by Nele Noppe on 08 Sep 10 - Cached
  • the practices, texts, procedures, and processual nature of electronic literature require new critical models and new ways of playing and interpreting the works.
  • "literature" has always been a contested category.
  • To see electronic literature only through the lens of print is, in a significant sense, not to see it at all.
  • ...19 more annotations...
  • Electronic literature, generally considered to exclude print literature that has been digitized, is by contrast "digital born," a first-generation digital object created on a computer and (usually) meant to be read on a computer
  • At the same time, because electronic literature is normally created and performed within a context of networked and programmable media, it is also informed by the powerhouses of contemporary culture, particularly computer games, films, animations, digital arts, graphic design, and electronic visual culture
  • Digital technologies are now so thoroughly integrated with commercial printing processes that print is more properly considered a particular output form of electronic text than an entirely separate medium. Nevertheless, electronic text remains distinct from print in that it literally cannot be accessed until it is performed by properly executed code
  • immediacy of code to the text's performance is fundamental to understanding electronic literature, especially to appreciating its specificity as a literary and technical production
  • How to maintain such conventional narrative devices as rising tension, conflict, and denouement in interactive forms where the user determines sequence continues to pose formidable problems for writers of electronic literature, especially narrative fiction.
  • . "Giving the audience access to the raw materials of creation runs the risk of undermining the narrative experience," she writes, while still acknowledging that "calling attention to the process of creation can also enhance the narrative involvement by inviting readers/viewers to imagine themselves in the place of the creator.
  • Hypertext fiction, network fiction, interactive fiction, locative narratives, installation pieces, "codework," generative art and the Flash poem are by no means an exhaustive inventory of the forms of electronic literature, but they are sufficient to illustrate the diversity of the field, the complex relations that emerge between print and electronic literature, and the wide spectrum of aesthetic strategies that digital literature employs
  • . Such close critical attention requires new modes of analysis and new ways of teaching, interpreting, and playing. Most crucial, perhaps, is the necessity to "think digital," that is, to attend to the specificity of networked and programmable media while still drawing on the rich traditions of print literature and criticism.
  • One problem with identifying the hyperlink as electronic literature's distinguishing characteristic was that print texts had long also employed analogous technology in such apparati as footnotes, endnotes, cross-reference, and so on, undermining the claim that the technology was completely novel. Perhaps a more serious problem, however, was the association of the hyperlink with the empowerment of the reader/user. As a number of critics have pointed out, notably Espen J. Aarseth, the reader/user can only follow the links that the author has already scripted.
  • ergodic literature
  • The shortcomings of importing theoretical assumptions developed in the context of print into analyses of electronic media were vividly brought to light by Espen J. Aarseth's important book Cybertext: Explorations of Ergodic Literature.
  • ," texts in which "nontrivial effort is required to allow the reader to traverse the text"
  • The deepest and most provocative for electronic literature is the fifth principle of "transcoding," by which Manovich means the importation of ideas, artifacts, and presuppositions from the "cultural layer" to the "computer layer" (46).
  • arguing that print texts also use markup language, for example, paragraphing, italics, indentation, line breaks and so forth.
  • Complementing studies focusing on the materiality of digital media are analyses that consider the embodied cultural, social, and ideological contexts in which computation takes place.
  • electronic literature can be seen as a cultural force helping to shape subjectivity in an era when networked and programmable media are catalyzing cultural, political, and economic changes with unprecedented speed.
  • Liu urges a coalition between the "cool" — designers, graphic artists, programmers, and other workers within the knowledge industry — and the traditional humanities, suggesting that both camps possess assets essential to cope with the complexities of the commercial interests that currently determine many aspects of how people live their everyday lives in developed societies.
  • The Laws of Cool: Knowledge Work and the Culture of Information
  • Realizing this broader possibility requires that we understand electronic literature not only as an artistic practice (though it is that, of course), but also as a site for negotiations between diverse constituencies and different kinds of expertise.
  • Nele Noppe on 08 Sep 10
     
    Hayles
Nele Noppe

Electronic literature - Wikipedia, the free encyclopedia - 0 views

en.wikipedia.org/...Electronic_literature

literature hypertext open_work phd phd_unfinished

shared by Nele Noppe on 08 Sep 10 - Cached
  • N. Katherine Hayles discusses the topic in the online article Electronic Literature: What Is It. She argues in her 2008 text Electronic Literature that, "electronic literature, generally considered to exclude print literature that has been digitized, is by contrast 'digital born,' and (usually) meant to be read on a computer."[1]
  • Computer art installations which ask viewers to read them or otherwise have literary aspects
  • Nele Noppe on 08 Sep 10
     
    N. Katherine Hayles discusses the topic in the online article Electronic Literature: What Is It. She argues in her 2008 text Electronic Literature that, "electronic literature, generally considered to exclude print literature that has been digitized, is by contrast 'digital born,' and (usually) meant to be read on a computer."[1]
Nele Noppe

Open Source Open World - 0 views

www.focus.com/...open-source-open-world

open_source open_work

shared by Nele Noppe on 24 Nov 10 - Cached
  • Nele Noppe on 24 Nov 10
     
    Does not include cultural goods!
Nele Noppe

Umberto Eco - Wikipedia, the free encyclopedia - 0 views

en.wikipedia.org/Umberto_Eco

fanwork theory umberto_eco open_work fanficforensics phd

shared by Nele Noppe on 19 Aug 08 - Cached
    • Nele Noppe
      Nele Noppe on 19 Aug 08
       
      -> werk dat sterk voor interpretatie vatbaar is genereert veel fanfic
  • In Opera aperta, Eco argued that literary texts are fields of meaning, rather than strings of meaning, that they are understood as open, internally dynamic and psychologically engaged fields. Those works of literature that limit potential understanding to a single, unequivocal line are the least rewarding, while those that are most open, most active between mind and society and line, are the most lively and best
  • In Opera aperta, Eco argued that literary texts are fields of meaning, rather than strings of meaning, that they are understood as open, internally dynamic and psychologically engaged fields.
  • ...1 more annotation...
  • texts that are the most active between mind and society and life (open texts) are the most lively and best
Nele Noppe

Participation, Reciprocity and Generosity in Art: On Open Work by Umberto Eco - 1 views

distributedcreativity.typepad.com/...post.html

open_work umberto_eco fanficforensics phd

shared by Nele Noppe on 10 Oct 08 - Cached
  • Eco distinguishes between the concept within aesthetic theory that every text is more or less open, because every text can be read in an infinite number of ways depending on what the reader brings to the text, and his more specific concept of the open work.
  • As examples
  • He also cites texts which on the surface are more traditional.
  • ...7 more annotations...
  • “In Opera Aperta, Eco argued that literary texts are fields of meaning, rather than strings of meaning, that they are understood as open, internally dynamic and psychologically engaged fields. Those works of literature that limit potential understanding to a single, unequivocal line are the least rewarding, while those that are most open, most active between mind and society and line, are the most lively (and, although valorizing terminology is not his business, best)
  • What the preceding entry leaves out is the historical context in which Eco puts openness. He feels that this type of work, open work, is the work of his age.
  • A sub-category of open work is work in movement which he describes as works which “characteristically consist of unplanned or physically incomplete structural units.”
  • Eco sees open work as essentially political; work that is open expresses a pluralistic worldview.
  • Work which is calling into question its own forms and assumptions has a valuable function – it teaches us how to operate with agency within a highly mediated world.
  • 1) Eco sees science as driving the worldview of an age, to which art responds
  • Forty or more years after the essays in The Open Work were written do we live in a world where the openness of our habits of interpretation makes the openness of the text less crucial?
Nele Noppe

paceus: Textual Echoes: Nele Noppe and the 'open work' - 0 views

paceus.livejournal.com/114842.html

open_work research academia fanficforensics phd

shared by Nele Noppe on 17 Feb 10 - Cached
  • open source software
  • spirit of 'open work' is decentralised
  • Nina Työlahti
  • ...7 more annotations...
  • Kristina Busse talked about the myth of the author too
  • tv shows like SGA do certainly seem to require active participation from fans because the show is so flawed -- unrealistic, filled with plot holes, or otherwise unsatisfying and failing to meet my expectations of entertainment
  • file sharing and piracy
  • gift economy
  • This explanation doesn't cover fan writing and for example fanzines from the earlier decades though, since they didn't exactly have anything to do with the internet. Vidding, though, began as slide shows and continued with VCRs, so that was definitely connecting the format to what the vidders wanted to express.
  • legitimises fan works
  • remember their cultural specificity
  • Nele Noppe on 17 Feb 10
     
    A review of my TE presentation, yey
Nele Noppe

The Poetics of the Open Work By Umberto Eco - 0 views

74.125.155.132/scholar

umberto_eco open_work fanficforensics phd

shared by Nele Noppe on 10 Jan 10 - Cached
  • the instrumentalist's freedom is a function of the "narrative" structure of the piece
  • the instrumentalist's freedom is a function of the "narrative" structure of the piece
  • the instrumentalist's freedom is a function of the "narrative" structure of the piece
  • ...39 more annotations...
  • the instrumentalist's freedom is a function of the "narrative" structure of the piece
  • the instrumentalist's freedom is a function of the "narrative" structure of the piece
  • the instrumentalist's freedom is a function of the "narrative" structure of the piece,
  • the instrumentalist's freedom is a function of the "narrative" structure of the piece
  • the instrumentalist's freedom is a function of the "narrative" structure of the piece,
  • the instrumentalist's freedom is a function of the "narrative" structure of the piece, w
  • the new musical works referred to above reject the definitive, concluded message and multiply the formal possibilities of the distribution of their elements.
  • initiative of the individual performer
  • As he reacts to the play of stimuli and his own response to their patterning, the individual addressee is bound to supply his own existential credentials, the sense conditioning which is peculiarly his own, a defined culture, a set of tastes, personal inclinations, and prejudices. Thus, his comprehension of the original artifact is always modified by his particular and individual perspective. In fact, the form of the work of art gains its aesthetic validity precisely in proportion to the number of different perspectives from which it can be viewed and understood.
  • A work of art, therefore, is a complete and closed form in its uniqueness as a balanced organic whole, while at the same time constituting an open product on account of its susceptibility to countless different interpretations which do not impinge on its unadulterable specificity.
  • it is obvious that works like those of Berio and Stockhausen are "open" in a far more tangible sense.
  • the poetics of the "open" work tends to encourage “acts of conscious freedom” on the part of the performer and place him at the focal point of a network of limitless interrelations,
  • Instead nowadays it is primarily the artist who is aware of its implications.
  • However, in this type of operation, "openness" is far removed from meaning "indefiniteness" of communication, "infinite" possibilities of form, and complete freedom of reception. What in fact is made available is a range of rigidly preestablished and ordained interpretative solutions,
  • and these never allow the reader to move outside the strict control of the author.
  • It is not that the four solutions of the allegorical passage are quantitatively more limited than the many possible solutions of a contemporary "open" work. As I shall try to show, it is a different vision of the world which lies under these different aesthetic experiences
  • Now if Baroque spirituality is to be seen as the first clear manifestation of modern culture and sensitivity, it is because here, for the first time, man opts out of the canon of authorized responses and finds that he is faced (both in art and in science) by a world in a fluid state which requires corresponding creativity on his part.
  • the new man's inventive role. He is no longer to see the work of art as an object which draws on given links with experience and which demands to be enjoyed; now he sees it as a potential mystery to be solved, a role to fulfill, a stimulus to quicken his imagination.
  • W. Y. Tindall, in his book on the literary symbol, offers an analysis of some of the greatest modern literary works in order to test Valéry's declaration that "il n'y a pas de vrai sens d'un texte" ("there is no true meaning of a text"). Tindall eventually concludes that a work of art is a construct which anyone at all, including its author, can put to any use whatsoever, as he chooses. This type of criticism views the literary work as a continuous potentiality of "openness"-in other words, an indefinite reserve of meanings. This is the scope of the wave of American studies on the structure of metaphor, or of modern work on "types of ambiguity" offered by poetic discourse.
  • Clearly, the work of James Joyce is a major example of an "open" mode, since it deliberately seeks to offer an image of the ontological and existential situation of the contemporary world.
  • Here the work is "open" in the same sense that a debate is "open." A solution is seen as desirable and is actually anticipated, but it must come from the collective enterprise of the audience. In this case the "openness" is converted into an instrument of revolutionary pedagogics.
  • the examples considered in the preceding section propose an "openness" based on the theoretical, mental collaboration of the consumer, who must freely interpret an artistic datum, a product which has already been organized in its structural entirety (even if this structure allows for an indefinite plurality of interpretations). On the other hand, a composition like Scambi, by Pousseur, represents a fresh advance.
  • it is clear that a composition such as Scambi poses a completely new problem. It invites us to identify inside the category of "open" works a further, more restricted classification of works which can be defined as "works in movement," because they characteristically consist of unplanned or physically incomplete structural units
  • If we turn to literary production to try to isolate an example of a work in movement," we are immediately obliged to take into consideration Mallarmé's Livre, a colossal and far- reaching work, the quintessence of the poet's production. He conceived it as the work which would constitute not only the goal of his activities but also the end goal of the world:
  • However, Mallarmé's immense enterprise was utopian:
  • In every century, the way that artistic forms are structured reflects the way in which science or contemporary culture views reality.
  • Hence, it is not overambitious to detect in the poetics of the "open" work – and even less so in the "work in movement” – more or less specific overtones of trends in contemporary scientific thought.
  • The notion of "possibility" is a philosophical canon which reflects a widespread tendency in contemporary science; the discarding of a static, syllogistic view of order, and a corresponding devolution of intellectual authority to personal decision, choice, and social context.
  • The two-value truth logic which follows the classical aut-aut, the disjunctive dilemma between true and false, a fact and its contradictory, is no longer the only instrument of philosophical experiment. Multi-value logics are now gaining currency, and these are quite capable of incorporating indeterminacy as a valid stepping-stone in the cognitive process. In this general intellectual atmosphere, the poetics of the open work is peculiarly relevant: it posits the work of art stripped of necessary and foreseeable conclusions, works in which the performer's freedom functions as part of the discontinuity which contemporary physics recognizes, not as an element of disorientation, but as an essential stage in all scientific verification procedures and also as the verifiable pattern of events in the subatomic world.
  • Here are no privileged points of view, and all available perspectives are equally valid and rich in potential.
  • This is not the place to pass judgment on the scientific validity of the metaphysical construct implied by Einstein's system. But there is a striking analogy between his universe and the universe of the work in movement
  • Therefore, to sum up, we can say that the "work in movement" is the possibility of numerous different personal interventions, but it is not an amorphous invitation to indiscriminate participation. The invitation offers the performer the opportunity for an oriented insertion into something which always remains the world intended by the author.
  • All these examples of "open" works and "works in movement" have this latent characteristic, which guarantees that they will al- ways be seen as "works" and not just as a conglomeration of random components ready to emerge from the chaos in which they previously stood and permitted to assume any form whatsoever.
  • Now, a dictionary clearly presents us with thousands upon thou- sands of words which we could freely use to compose poetry, essays on physics, anonymous letters, or grocery lists. In this sense the dictionary is clearly open to the reconstitution of its raw material in any way that the manipulator wishes. But this does not make it a "work." The "openness" and dynamism of an artistic work consist in factors which make it susceptible to a whole range of integrations. They provide it with organic complements which they graft into the structural vitality which the work already possesses, even if it is incomplete. This structural vitality is still seen as a positive property of the work, even though it admits of all kinds of different conclusions and solutions for it
  • We have, therefore, seen that (1) "open" works, insofar as they are in movement, are characterized by the invitation to make the work together with the author and that (2) on a wider level (as a subgenus in the species "work in movement") there exist works which, though organically completed, are "open" to a continuous generation of internal relations which the addressee must uncover and select in his act of perceiving the totality of incoming stimuli. (3) Every work of art, even though it is produced by following an explicit or implicit poetics of necessity, is effectively open to a virtually unlimited range
  • of possible readings, each of which causes the work to acquire new vitality in terms of one particular taste, or perspective, or personal performance
  • The poetic theory or practice of the "work in movement" senses this possibility as a specific vocation. It allies itself openly and selfconsciously to current trends in scientific method and puts into action and tangible form the very trend which aesthetics has
  • already acknowledged as the general background to performance. These poetic systems recognize "openness" as the fundamental possibility of the contemporary artist or consumer.
  • The poetics of the "work in movement" (and partly that of the "open" work) sets in motion a new cycle of relations between the artist and his audience, a new mechanics of aesthetic perception, a different status for the artistic product in contemporary society. It opens a new page in sociology and in pedagogy, as well as a new chapter in the history of art. It poses new practical problems by organizing new communicative situations. In short, it installs a new relationship between the contemplation and the utilization of a work of art.
Nele Noppe

The Future of the Book - 0 views

74.125.155.132/scholar

umberto_eco internet technology reading open_work fanficforensics phd

shared by Nele Noppe on 10 Jan 10 - No Cached
  • The present and the forthcoming young generation is and will be a computer- oriented generation. The main feature of a computer screen is that it hosts and displays more alphabetic letters than images.
  • Moreover, the new generation is trained to read at an incredible speed. An old-fashioned university professor is today incapable of reading a computer screen at the same speed as a teenager
  • I am a rare-book collector, and I feel delighted when I read the seventeenth-century titles that took one page and sometimes more. They look like the titles of Lina Wertmuller's movies. The introductions were several pages long. They started with elaborate courtesy formulas praising the ideal addressee, usually an emperor or a pope, and lasted for pages and pages explaining in a very baroque style the purposes and the virtues of the text to follow. If baroque writers read our contemporary scholarly books they would be horrified. Introductions are one-page long, briefly outline the subject matter of the book, thank some national or international endowment for a generous grant, shortly explain that the book has been made possible by the love and understanding of a wife or husband and of some children, and credit a secretary for having patiently typed the manuscript. We understand perfectly the whole of human and academic ordeals revealed by those few lines, the hundreds of nights spent underlining photocopies, the innumerable frozen hamburgers eaten in a hurry.... But I imagine that in the near future we will have three lines saying "W/c, Smith, Rockefeller," which we will decode as "I thank my wife and my children; this book was patiently revised by Professor Smith, and was made possible by the Rockefeller Foundation." That would be as eloquent as a baroque introduction. It is a problem of rhetoric and of acquaintance with a given rhetoric.
  • ...6 more annotations...
  • The quest for a new and surviving literacy ought not to be the quest for a preinformatic quantity. The enemies of literacy are hiding elsewhere
  • the radical mistake of irresponsible deconstructionists or of critics like Stanley Fish was to believe that you can do everything you want with a text. This is blatantly false. Busa's hypertext on the Aquinas corpus is a marvelous instrument, but you cannot use it to find out a satisfactory definition of electricity.
  • Then there is the third possibility, the one outlined by Michael Joyce. We may conceive of hypertexts which are unlimited and infinite. Every user can add something, and you can implement a sort of jazzlike unending story. At this point the classical notion of authorship certainly disappears, and we have a new way to implement free creativity. As the author of The Open Work I can only hail such a possibility. However there is a difference between implementing the activity of producing texts and the existence of produced texts. We shall have a new culture in which there will be a difference between producing infinitely many texts and interpreting precisely a finite number of texts. That is what happens in our present culture, in which we evaluate differently a recorded performance of Beethoven's Fifth and a new instance of a New Orleans jam session
  • The problem is in saying that we have replaced an old thing with another one; we have both, thank God. TV zapping is an activity that has nothing to do with reading a movie
  • Debray has reminded us that the invention of the photograph has set painters free from the duty of imitation.
  • Certainly the advent of cinema or of comic strips has freed literature from certain narrative tasks it traditionally had to perform. But if there is something like postmodern literature, it exists because it has been largely influenced by comic strips or cinema. This means that in the history of culture it has never happened that something has simply killed something else. Something has profoundly changed something else
Nele Noppe

The World According to Eco - 0 views

themodernword.com/...eco_wired97.html

umberto_eco internet reading open_work fanficforensics phd

shared by Nele Noppe on 10 Jan 10 - Cached
  • Then there's his idea that any text is created as much by the reader as by the author, a dogma that invaded the lit crit departments of American universities in the mid-'70s and that underlies thinking about text in cyberspace and who it belongs to. Eco, mind you, got his flag in first, with his 1962 manifesto Opera aperta (The Open Work).
  • Because before you start talking about a Minister of Culture you have to decide what you mean by "culture." If it refers to the aesthetic products of the past -- beautiful paintings, old buildings, medieval manuscripts -- then I'm all in favor of state protection; but that job is already taken care of by the Heritage Ministry. So that leaves "culture" in the sense of ongoing creative work -- and I'm afraid that I can't support a body that attempts to encourage and subsidize this. Creativity can only be anarchic, capitalist, Darwinian.
  • And how about your own sense of time? If you had the chance to travel in time, would you go backward or forward - and by how many years? And you, sir, if you had the chance to ask someone else that question, who would you ask? Joking aside, I already travel in the past: haven't you read my novels? And as for the future - haven't you read this interview?
Nele Noppe

Creative Industries - 0 views

www.amazon.com/...ref=sr_1_1

open_work literature internet copyright fanficforensics phd

shared by Nele Noppe on 17 Jan 10 - No Cached
  • Nele Noppe on 17 Jan 10
     
    by John Hartley, to read
Nele Noppe

Literary Openness: A Bridge across the Divide between Chinese and Western Literary Thought - 0 views

74.125.155.132/scholar

umberto_eco open_work literature china cross-cultural fanficforensics phd

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  • Nele Noppe on 17 Jan 10
     
    Associations between open work and chinese literary theory
Nele Noppe

Open-work: Dining at the Interstices - 0 views

www.heelstone.com/...haylesfr.htm

open_work literature internet copyright phd phd_unfinished

shared by Nele Noppe on 31 Jan 10 - Cached
  • In the New Millennium, the tradition that Judy Chicago pioneered of recognizing and celebrating women’s contributions continues in the vibrant new medium of the Web. Talan Memmott has suggested the term "Rich Lit" for the cornucopia of delights that this new "Dinner Party" offers.
  • The protest of the literati may be misguided, but it has enough nanograms of truth to prompt me to suggest a complementary term to Talan’s rich lit: open-work.
  • As a term, open-work calls attention to the fact that the craftwork of making has again become a recognized and important component of textual production. During the last several hundred years, the commodification of book production drove a wedge between authorial process and the hands-on labor of producing the book as a physical object. The complex history behind this separation has been documented by Mark Rose in Authors and Owners: The Invention of Copyright, among others. Suffice it to say here that a constellation of economic, political and class forces was successful in promulgating the idea that what the author produced was an immaterial concept separated from and untainted by the commercial networks that brought the actual book into being.
  • ...9 more annotations...
  • "work"--associated with the same male-centered world view that so enraged July Chicago-
  • The intelligence, knowledge, and creativity it takes to write and/or implement software for artistic purposes can no longer be separated from the work,
  • The open-work is open in the sense that it serves as a fluid space in which artistic intent commingles with technical expertise. At many levels and in many ways, the material basis for the production of the open-work interpenetrates the work as concept and cannot be separated from it.
  • rt itse
  • Especially illuminating in this regard are open-works that foreground the importance of craftwork by "treating" traditional texts so their concepts become literalized or materialized in new ways, thus opening spaces within the traditional texts where the fluid and hybrid nature of the open-work can asse
  • appropriation
  • Another aspect of the openness of the open-work is expressed in its fusion of text and image. With digital technology
  • The encoding of text into binary code allows fragmentation and recombination to operate in ways unthinkable with alphabetic language.
  • Finally, the open-work is open in the sense that it radiates out to a physically dispersed community, uniting together in collaborative projects women from different regions and countries, as well as bringing into existence an international Web community who can access and benefit from each other’s works.
Nele Noppe

N. Katherine Hayles - Wikipedia, the free encyclopedia - 0 views

en.wikipedia.org/...Katherine_Hayles

internet literature open_work zoomorphism fanficforensics phd

shared by Nele Noppe on 31 Jan 10 - Cached
  • Her scholarship focuses upon the "relations between science, literature, and technology
Nele Noppe

JSTOR: Narrative, Vol. 9, No. 1 (Jan., 2001), pp. 21-39 - 0 views

www.jstor.org/20107227

internet literature open_work fanficforensics phd

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    • Nele Noppe
      Nele Noppe on 31 Jan 10
       
      Let me begin with a claim: literary theory and criticism are shot through with assumptions specific to print, although they have not been recognized as such. Only now, as the vibrant new medium of electronic textuality is asserting its presence, are these assumptions coming into view. O
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