The one vs. the many : minor characters and the space of the protagonist in the novel
09 Feb 2009-
About: The article was published on 2009-02-09. It has received 315 citations till now.
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TL;DR: In this article, the authors present an examination of the possible relations between literature and the digital, including Zara Dinnen's The Digital Banal, Andrew Piper's Enumerations, and Joel Waldfogel's Digital Renaissance.
Abstract:
An examination of the possible relations between literature and the digital. Each of three recent books, including Zara Dinnen’s The Digital Banal (2018), Andrew Piper’s Enumerations (2018), and Joel Waldfogel’s Digital Renaissance (2018), addresses a distinct aspect of the problem. Dinnen’s study considers the representational effects of social media on literary realism. Waldfogel traces the consequences of digital production and distribution on the culture industries. And Piper demonstrates the evidentiary value of quantitative analysis of literary collections. All three are persuasive within their domains, but none offers the comprehensive theory of the digital that was once the presumptive end of the study of digital books. The article suggests that the implicit renunciation of such a theory in recent work represents a new phase in the investigation of digital literature.
2 citations
2 citations
03 Dec 2020
TL;DR: In a discipline like ours, where the objects of study are emphatically given and passed on with care, and often with reverence, from generation to generation, the idea of making Hamlet sounded half absurd, half sacrilegious as mentioned in this paper.
Abstract:
“Yes, interesting,” said someone from the audience, the first time I presented on dramatic networks; “but, as a mathematician, I feel I only understand something if I know how to ‘make’ it. So: how do you make a dramatic network? What elements does it need, what rules, what stages?” At the time, I had no idea how to respond; in a discipline like ours, where the objects of study are emphatically given – passed on with care, and often with reverence, from generation to generation – the idea of “making” Hamlet sounded half absurd, half sacrilegious. But that’s exactly my object here: neither real plays, nor even the networks that can be extracted from them, but their “simulations” instead.
2 citations