By Markku Eskelinen
Both attracted to what's and what will be, Cybertext Poetics combines ludology and cybertext concept to unravel continual difficulties and introduce paradigm adjustments within the fields of literary thought, narratology, video game reviews, and electronic media. The e-book first integrates theories of print and electronic literature inside a extra accomplished thought able to coming to phrases with the ever-widening media kinds of literary expression, after which expands narratology a ways past its present confines leading to a number of new probabilities for either interactive and non-interactive narratives. through targeting a cultural mode of expression that's officially, cognitively, affectively, socially, aesthetically, ethically and rhetorically diversified from narratives and tales, Cybertext Poetics constructs a ludological foundation for comparative online game reviews, indicates the significance of online game stories to the certainty of electronic media, and argues for a plurality of transmedial ecologies.
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Extra resources for Cybertext Poetics: The Critical Landscape of New Media Literary Theory (International Texts In Critical Media Aesthetics, Volume 2)
2 From intertextuality to transtextuality Intertextuality is a contested concept, but there are only a few prominent theorists to take into account. There’s no need to repeat here the well-known intellectual history of the term from Bakhtin to Kristeva and poststructuralism. The most important pragmatic choice to be made is between broad and narrow definitions. ” In this way (similar to Bakhtin), individual texts are inseparable from the larger cultural and social text from which they are constructed.
Wardrip-Fruin’s (2009, 13) model of digital media consists of six elements: data, processes, surface, interaction, author, and audience. The surface of a work is “what the audience experiences: the output of the processes operating on the data, in the context of the physical hardware and setting, through which any audience interaction takes place” (Wardrip-Fruin 2009, 10). In cybertextual parlance, Wardrip-Fruin’s surface could be called the interface medium and thus this part of the model is not in conflict with Aarseth’s scriptons as strings of signs that are presented to the user (on the surface) and the variety of user functions available to the audience(s).
1 Traditional inter- and hypertextuality from the cybertextual perspective Text 1