Hypertext: The Convergence of Contemporary Critical Theory and Technology. George P. Landow

Getting the books writing space the computer hypertext and the history of writing now is not type of challenging means. You could not solitary going bearing in mind books deposit or library or borrowing from your friends to gain access to them. This is an totally easy means to specifically acquire lead by on-line. This online declaration writing space the computer hypertext and the history of writing can be one of the options to accompany you gone having new time.

Writing space: The computer, hypertext, and the history of writing

Orality and Literacy

reading for the plot design and intention in narrative is available in our book collection an online access to it is set as public so you can download it instantly. Our book servers saves in multiple locations, allowing you to get the most less latency time to download any of our books like this one. Merely said, the reading for the plot design and intention in narrative is universally compatible with any devices to read.

Reading For The Plot Design And Intention In Narrative

Toward the end of After Theory, Docherty provides "the basic outlines of a postmodernist theory, the kind of theory which the text in fact has practiced throughout." All thought since the Enlightenment, he tells us, has been based on logic, which in its operations is indistinguishable from ideology. Neither one requires or permits "real critical thinking"; "it is the system ... which does the thinking and which provides the answers." This view implies that theories cannot be challenged by reference to facts; that what we may see as philosophical or ideological differences are infallibly generated from assumptions by "rigorously policed or disciplined" conventions; and that rationality, "a system of oppression," is "terroristic" (pp. 207-09). The alternative is a postmodern alterity and heterogeneity. "Since this thinking orjudging has no criteria ... it becomes difficult to understand" (p. 11). Such views are commonplace in the thirty-odd books now produced annually with the word "postmodern" in the title. Lacking a jurisdiction competent to hear their claims, postmodernists find themselves subjected to peremptory judgment by rationalists-a perfect example of the differend, as conceived by Lyotard: "A case of differend between two parties takes place when the 'regulation' of the conflict that opposes them is done in the idiom of one of the parties while the wrong suffered by the other is not signified in that idiom" (The Differend, p. 9). By this high standard of justice, it is unfair to criticize postmodernism in a rational idiom. But by the same token, postmodernists have no right, Lyotard would say, to deprive rationalists of any means to argue their own case. This differend cannot be adjudicated, but it can be complicated by showing that it is a tangle of differences, not a clearcut opposition. Objections to theory, for example, take varied forms. Rationalists hold that some theories are demonstrably wrong. Many have argued that theories of some things are bound to be wrong. That was what Kant held concerning the aesthetic; in Gadamer, the sphere of the untheorizable is extended. Most species of the genre of postmodernism hold that all theories are bound to be wrong. But here discriminations prove useful. The antitheorisms of Wittgenstein, Rorty, Dreyfus, Derrida, and Lyotard are distinct. In the case of Docherty, the rejection of theory appears to arise from the following syllogism: (1) Scientific theories are paradigmatic of rational thought. (2) Marxism, a rigorously scientific theory, has proven false. (3) Therefore, all theories are false (p.

From poetics to postmodernism

Depuis les romans oulipiens d’Italo Calvino – Si par une nuit d’hiver un voyageur et Le Château des destins croises – jusqu’aux hypertextes de fiction se joue une redefinition de la forme et des enjeux de l’enchâssement narratif. Ce travail vise, a partir d’un corpus contemporain, a explorer les mutations que connait cet agencement de recits percu comme traditionnel et theorise en France dans les annees 1960 par Gerard Genette et Tzvetan Todorov. Nous proposons, avec la notion de multiplication des recits, un assouplissement de ses contours afin d’aborder un corpus d’oeuvres romanesques cherchant a tisser ensemble plusieurs recits tout en brouillant les reperes hierarchiques impliques par les notions d’enchâssement ou d’insertion. Croisant approche narratologique et prise en compte de la reception, ce travail se donne pour objectif d’interroger ce qu’est la multiplication des recits en ne perdant jamais de vue ses effets, en particulier sur la mise en intrigue (P. Ricoeur) : comment comprendre et analyser la reception passionnee (R. Baroni) du lecteur face a des oeuvres parfois monstrueuses, entremelant les strates narratives et courant le risque du desordre, de la perte et de l’illisible ? Nous proposons de suivre a la trace le lecteur intrigue, protagoniste de cette etude et arpenteur ou geometre des espaces fictionnels et textuels ouverts par la multiplication des recits, a travers sa progression dans des romans – imprimes ou numeriques – qui placent au coeur de leurs enjeux la question du dispositif narratif

Gaelle Debeaux

Papers

Multiplication des récits et stéréométrie littéraire : d’Italo Calvino aux épifictions contemporaines

L’Affaire « 53 jours », volume 1