39 | 2009

Now showing 1 - 4 of 4

Encapsulating E-Poetry 2009: Some views on contemporary digital poetry
Funkhouser, Chris (2009) , S. 1-60
Digital poet and researcher Chris Funkhouser attends E-Poetry 2009 in Barcelona and files a report on what he heard and saw.
Figures in the Interface: Comparative Methods in the Study of Digital Literature
Zuern, John (2009) , S. 1-22
This paper, which is part of the collection of essays Reading Moving Letters (see introduction) reflects on what the emerging field of digital literature studies and the more established (but continually evolving) discipline of comparative literature might contribute to one another in terms of defining concepts and methods of literary analysis. My discussion is guided by the tentative proposition that the vexed status of the "national language" for comparative literature can be seen as analogous to the status of the "digital" for scholars undertaking research on computer-based literary texts. Aiming to overcome the ideological strictures of nationalism, many present-day comparatists are returning to the old question "what is literature?" and are placing renewed emphasis on the role of figurative language as a defining feature of literary texts and, consequently, as the appropriate focus of comparative textual analysis. Should scholarship in electronic literature head in a similar direction and cultivate skepticism about the essentialism of the digital, opening up greater possibilities for comparative work across literary media? In support of an affirmative answer to this question, the essay undertakes a detailed comparative analysis of Rainer Maria Rilke's poem "Herbst" ("Autumn") and American artist Rudy Lemcke's digital video poem "The Uninvited."
On Analytic Method in the Digital Reading
Ricardo, Francisco J.; Simanowski, Roberto (2009) , S. 1-5
Presented with the modality of the new work of art, which, being interactive, sculptural, filmic, or ludic, is in nature and structure so different from prior aesthetic production, literary critic and historian of art alike are now confronted with questions as to preferable modes of reading new media art that can do justice to its unique ontologies. In this conversation (from the book Literary Art in Digital Performance: Case Studies and Critical Positions) with Francisco J. Ricardo, Roberto Simanowski lays out a phenomenology that goes beyond the formalism of the work and opens to a critical reading while, in harmony with the thinking of Lyotard, viewing the encounter of the work as possessing greater importance than specific commitments to interpretation, that is, of experiencing “not what happens but that something happens”.
Teaching Digital Literature: Didactic and Institutional Aspects
Simanowski, Roberto (2009) , S. 1-17
Digital media is increasingly finding its way into the discussions of the humanities classroom. But while we have a number of grand theoretical texts about digital literature we as yet have little in the way of resources for discussing the down-to-earth practices of research, teaching, and curriculum necessary for this work to mature. The book Reading Moving Letters, edited by Roberto Simanowski, Jörgen Schäfer and Peter Gendolla, addresses this need and provides examinations by nine scholars and teachers from different national academic backgrounds. While the first section of the book provides definitions of digital literature as a discipline of scholarly treatment in the humanities, the second section asks how and why we should teach digital literature and conduct close readings in academia and discusses institutional considerations necessary to take into account when implementing digital literature into curricula. The following text is the introduction to section two.

Browsing 39 | 2009 by Subject "digital literature"

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