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Michel Roland

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  • “We begin by assuming that there is a difference between the kind of reading that people do when they read Marcel Proust or Henry James and a newspaper, that there is a value added cognitively when we read complex literary texts,”
  • “We begin by assuming that there is a difference between the kind of reading that people do when they read Marcel Proust or Henry James and a newspaper, that there is a value added cognitively when we read complex literary texts,”
  • Why do we read fiction? Why do we care so passionately about nonexistent characters? What underlying mental processes are activated when we read?
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  • using snapshots of the brain at work to explore the mechanics of reading
  • Blakey Vermeule, an associate professor of English at Stanford, is examining theory of mind from a different perspective. She starts from the assumption that evolution had a hand in our love of fiction, and then goes on to examine the narrative technique known as “free indirect style,” which mingles the character’s voice with the narrator’s. Indirect style enables readers to inhabit two or even three mind-sets at a time.
  • “To give us an incentive to monitor and ensure cooperation, nature endows us with a pleasing sense of outrage” at cheaters, and delight when they are punished
  • “but that fiction gives us insight into evolution.”
Michel Roland-Guill

Rough Type: Nicholas Carr's Blog: The remains of the book - 0 views

  • The sense of self-containment is what makes a good book so satisfying to its readers, and the requirement of self-containment is what spurs the writer to the highest levels of literary achievement.
  • The web is an assembly not of things but of shards, of snippets, of bits and pieces.
  • To move the words of a book onto the screen of a networked computer is to engineer a collision between two contradictory technological, and aesthetic, forces. Something's got to give. Either the web gains edges, or the book loses them.
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  • What people do more of is shift their focus and attention away from the words of the book and toward the web of snippets wrapped around the book - dictionary definitions, Wikipedia entries, character descriptions from Shelfari, and so forth.
  • He is, in a very real sense, treating a work of art as though it were an auto repair manual. Which is, of course, what the web wants a work of art to be: not a place of repose, but a jumping-off point.
  • Up until now, there's been a fairly common assumption that a divide would emerge in the presentation of different kinds of electronic books. Reference works would get the full web treatment, tricked out with multimedia and hypermedia, while fiction and literary nonfiction would be shielded from the web's manifest destiny. They'd go digital without losing their print nature; they'd retain their edges.
  • Updike observed that "the book revolution, which, from the Renaissance on, taught men and women to cherish and cultivate their individuality, threatens to end in a sparkling cloud of snippets."
Michel Roland-Guill

Contenus numériques : une consommation en hausse, mais... - LExpansion.com - 0 views

  • Du côté des supports de lecture, malgré le succès croissant des tablettes, ces dernières n'arrivent qu'en troisième position (31% de lecteurs) derrières les écrans de téléphones portables (48%) et les ordinateurs, en tête avec 79%. Que ce soit l'Amazon Kindle, le Bookeen, ou le Sony Reader, les livres électroniques sont relativement peu utilisés.
  • L'étude montre que 74% des sondés téléchargent ou consultent des livres numériques gratuits. Or parmi cette population 34% consomment exclusivement des contenus gratuits, et à l'inverse seulement 2% des internautes déclarent télécharger uniquement des ouvrages payants.
Alain Marois

Ebooks : les liseuses vont-elles disparaître au profit des tablettes ? - PC I... - 0 views

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    ser que de nombreux lecteurs se fichent éperdument de ces arguments, et que les avantages des tablettes l'emportent sur ceux des liseuses. Il faut dire que lire sur un écran d'ordinateur (ou de smartphone) e
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