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This article seeks to examine a new trend in Arabic women's literature that not only aims to forge women's communities but also creates resistance. Digital media is the mechanism that some Arab women authors employ to implement and foster a self-authority that acknowledges flexible identities in an age of revolutions and search for freedom. As a case study, I examine Ahlam Mosteghanemi's Nessayne com and Rajaa Alsanea's novel Girls of Riyadh, which originally appearing as compendiums, and Ibrahim Alsaqir's novel Girls of Riyadh: The Complete Picture that comes as a literary response to the resistance of cultural and gender establishments. I suggest that the digital realm provides an arena for women to resist oppressing social establishments and that literary works and digital practices like Alsanea's create spaces of and for resistance. Moreover, Alsanea's and Mosteghanemi's works are committed to promoting change in Arab societies, bridging the public and the private sphere by means of digital content. Arab women writers' sites and blogs address subjects that challenge prevalent gendered structures in the Arab world, deconstruct cultural norms, give visibility and focus on the implications of gender on memory, love, masculinity and femininity, and sexuality. They do so by employing chats as a narrative technique that engages readers and women's communities in the characters' experiences and thereby inviting them to participate in making their work a site of challenge to gender and cultural establishments. As Alsanea's representations of women subjectivities are uncommon and her characters defy the notion of the universality of woman as a shared gender, they are prohibited, criticized, and challenged. Those who defy gender performativity, such as Alsanea and Mosteghanemi, enact feminist resistance. The study engages with MENA gender and masculinity literature. It is also informed by Judith Butler's notion of performativity, the construction of gender, and the demystification of the universalistic notion of "woman". [ABSTRACT FROM AUTHOR]

From Twitterature to Instapoetry, several literary forms owe their genesis and propagation to social networking sites, or SNSs. Amongst these, Instapoetry has enjoyed the most notoriety, though at the cost of its demerits overshadowing its merits. One of Instapoetry's merits is its ability to induce a sense of nostalgia with the help of evocative aesthetic modalities deployed by a poet during an Instapoem's formulation. Some of these aesthetic modalities include the typewriter font, black and white images, sepia or Polaroid images, vintage stationary, calligraphy, and textured paper. Leaning on the concept of "nosthetics" or nostalgic aesthetics proposed by Tanja Grubnic, this paper decodes the temporal hypermediacy prominent in the works of American Instapoet and photographer Tyler Knott Gregson, particularly in his first poetry collection, chasers of the light: poems from the typewriter series. Published in 2014, the collection possesses a temporal aura which not only romanticizes the past but also conveys the present as a part of the past by impersonating pre-digital analog techniques and materials. Through Gregson's collection, this paper aims at understanding the various designs or ploys behind the habituation of nostalgic sensibilities and relics in modern digital creative expressions that have come to dominate the current field of cultural production. This paper reveals how Gregson's works resurrect, temporalize, nostalgize, restore, rehabilitate, remember, reflect, conserve, eternalize, memorialize, physicalize, sensualize, play, beguile, daydream, journey, mask, elevate, legitimize, and tout. The paper ends with a conclusion highlighting the importance of Instapoetry with regards to the preservation and continuation of historical literary practices, and with a suggestion encouraging further scholarly exploration on the topic. [ABSTRACT FROM AUTHOR]

Copyright of Orbis Tertius is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This research aims to explore the influence of social media on digital business strategy. The research methodology used is literature research which involves exploration, evaluation and systematic analysis of relevant literature from various scientific sources. The choice of this method is based on its ability to provide a comprehensive approach to understanding social media in the context of digital business strategy. Research findings show that social media has a significant influence on digital business strategy. The use of social media can help companies build a strong brand, increase interaction with customers, and expand market reach. Apart from that, innovation also has an important role in digital business strategy. Companies that are able to innovate continuously can face challenges and opportunities in a rapidly changing business environment. This research concludes that the influence of social media, innovation and digital literature on digital business strategy is very significant. To develop adaptive and innovative business strategies in the era of digital transformation, it is important to understand and make good use of social media, continue to encourage innovation, and use digital literature as a source of insight and knowledge. [ABSTRACT FROM AUTHOR]

There is a dearth of empirical literary studies devoted to digital literature, primarily due to the poor development of a methodological framework for analysing digital texts and a lack of clarity as regards the text/meaning-generating capacity of the new communication channel, the language of digital texts' literary meta-description and the limits of freedom in interpret­ing such volatile texts. This article attempts to answer these and other questions, providing a semiotic understanding of communication in the tech environment. It also proffers the idea of new pragmatics as the effect of volatile polycode digital text, interface and reception trajec­tory. It is shown that the instability of the digital channel plays a meaning-generating role in digital semiosis. The following principles are proposed as theoretically and methodologically significant for literary analysis of digital texts: a digital text does not preexist the act of communication; the meaning of an entire polycode digital text emerges at the intersection of words, images, video and audio; the activity of the recipient, in addition to that of producing meanings, includes material actions of text co-creation; the new tactility of communication should is a mandatory object of digital text analysis; when posted online, the recipient's reflection enables reconstructing the mechanisms guiding the reader through the text; meta-position in digital text analysis has the quality of relativity. A possible course of digital intermedial text analysis is proposed based on these considerations.

The research aims to explore the influence of digital short story literacy on environmental care character through moderation of reading interest. It is a quantitative study that measures the influence of digital short story literacy on environmental care character. The study involved 270 participants as a sample using a purposive sampling technique. The data collection technique for this research was a Google Forms questionnaire. Data analysis used the Statistical Package for Social Science (SPSS) software version 27. The results show that digital short story literacy has a significant influence on environmental care character. The effect of digital short story literacy on environmental care character is significant in statistics. However, reading interest does not present a moderately successful influence of digital short story literacy on the environmental care character. This research contributes to designing curriculum education with special attention paid to the inclusive aspects of digital literacy and environmental short stories to create a conscious and responsible generation's answer to environmental preservation. More studies need to be conducted about this subject including the additional amount of higher education needed in the regions where natural disasters happen more frequently, as well as more engagement originating from participants who are studying social sciences. In the industrial sector, it is recommended to collaborate with students to make documentaries from digital short stories to promote environmental preservation. [ABSTRACT FROM AUTHOR]

Copyright of Palíndromo is the property of Universidade do Estado de Santa Catarina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

We herein describe how Flash poetry is archived in the Antología LitELat -- v.1, one of the main archives of Latin American digital literature available online. As Flash poetry is one of the most popular genres among authors in the field in the continent, we investigated recurrences in the metadata of the 19 works of this genre archived in the anthology, as well as the strategies adopted by the editors to preserve and publicize this material, especially because Adobe discontinued its support to Flash on December 31st, 2020. As to the metadata of the works, the plurality of authors and nationalities that make up the collection of Flash poetry in the archive is worthy of attention. Data referring to the year of publication also allow us to make inferences regarding the different versions some of these works had in various media/technologies (printed book, GIF, LED screen, Flash, CDROM, HTML5, etc.), also considering the development history of Flash itself as a multimedia tool that gradually incorporated more functionalities. As for the strategies adopted by the editors of the anthology to preserve and publicize this material after the obsolescence of Flash, the corpus shows that the most frequent strategies are to redirect the reader to external pages where the works are available in their 'original' format or emulated in Ruffle. As planned obsolescence is a risk to which any work of digital literature made using proprietary technologies is subject, studies like this must be replicated and improved, with a view to mapping good practices and challenges for literary archives of this nature. [ABSTRACT FROM AUTHOR]

This paper provides an in-depth exploration of Rupi Kaur's Instapoetry, positioning her as a fearless contemporary voice addressing the intersection of trauma and beauty. Kaur's unapologetic approach challenges patriarchal norms through her exploration of relationships, immigrant experiences, and sexual trauma. The study delves into her distinctive instapoetics, analyzing the intricate relationship between trauma and healing, emphasizing self-love and acceptance. The use of language, imagery, and symbolism in Kaur's work is examined, revealing a masterful blend of the concrete and the abstract that creates a haunting and atmospheric landscape. The paper highlights Kaur's digital engagement, particularly on Instagram and Tumblr, and its role in forming a global readership. It explores the nuanced representation of trauma, disrupting conventional narratives by intertwining moments of beauty and grace. In conclusion, this analysis affirms the enduring impact of Kaur's Instapoetry in reshaping cultural discussions on pain, resilience, and wonder. [ABSTRACT FROM AUTHOR]

Copyright of Prace Filologiczne. Literaturoznawstwo is the property of University of Warsaw and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article seeks to examine a new trend in Arabic women’s literature that not only aims to forge women’s communities but also creates resistance. Digital media is the mechanism that some Arab women authors employ to implement and foster a self-authority that acknowledges flexible identities in an age of revolutions and search for freedom. As a case study, I examine Ahlam Mosteghanemi’s Nessayne com and Rajaa Alsanea’s novel Girls of Riyadh, which originally appearing as compendiums, and Ibrahim Alsaqir’s novel Girls of Riyadh: The Complete Picture that comes as a literary response to the resistance of cultural and gender establishments. I suggest that the digital realm provides an arena for women to resist oppressing social establishments and that literary works and digital practices like Alsanea’s create spaces of and for resistance. Moreover, Alsanea’s and Mosteghanemi’s works are committed to promoting change in Arab societies, bridging the public and the private sphere by means of digital content. Arab women writers’ sites and blogs address subjects that challenge prevalent gendered structures in the Arab world, deconstruct cultural norms, give visibility and focus on the implications of gender on memory, love, masculinity and femininity, and sexuality. They do so by employing chats as a narrative technique that engages readers and women’s communities in the characters’ experiences and thereby inviting them to participate in making their work a site of challenge to gender and cultural establishments. As Alsanea’s representations of women subjectivities are uncommon and her characters defy the notion of the universality of woman as a shared gender, they are prohibited, criticized, and challenged. Those who defy gender performativity, such as Alsanea and Mosteghanemi, enact feminist resistance. The study engages with MENA gender and masculinity literature. It is also informed by Judith Butler’s notion of performativity, the construction of gender, and the demystification of the universalistic notion of “woman”.

The article explores the work of two contemporary poets, Alice Oswald and J.R. Carpenter, with reference to the material and immaterial aspects of their poetic projects. It is argued that although disparate in their form, both artists’ works are linked by their interest in the environmental forces as (im)material manifestations of more-than-human agency. In this sense they can be seen as belonging to a longer and broader strain of poetic endeavours (like concrete poetry and land art) that struggle to problematise the relationship between form and meaning. The article also employs the notion of earth scripts which allows to see such poetic and artistic practices as forms of descriptions of the earth characterized by differing degrees of sensitivity to the environmental challenges posed by the Anthropocene.

Literature was quick to respond to emerging digital technologies in the late 1990s. Fiction writing and publishing took to the Internet, although traditional methods of print publication largely remained in place. However, it became evident that the literary world had embraced online platforms to produce and consume literature. Keshava Guha’s debut novel Accidental Magic (2019) captures this transformation from print to the digital world in the early 2000s. This paper is a study on how digital technology is adopted and utilised by literary readers in Accidental Magic. It also analyses digital technology’s impact on the art of storytelling. The paper concludes that online communities have introduced a new means of storytelling, which is now a two-way process, unlike what was the case in the pre-internet era. Also, mainstream literature is frequently and actively challenged – and promoted – on digital media. Guha’s novel illustrates how online platforms impact the lives of four people, suggesting that such platforms have the power to change the dynamics of human relationships and alter reader interactions with literature in general.

The new global genres of “chick lit” and “teen lit” in the early twenty-first century led to the rise of a new generation of Muslim women writers in Indonesia. They gained public attention, particularly from teen readers, by publishing Islamic novels and popular pesantren (Islamic boarding school) novels. Focusing on two online platforms for digital literature, the Komunitas Bisa Menulis and Halaqah 1001 Aksara as case studies, this study employs online observation of the platforms, content analysis of the works, and interviews with three young Muslim women writers from the pesantren tradition to explore their experiences of embracing socio-religious changes and technological developments in Indonesia. The article aims to answer three questions. Firstly, how and why do Muslim women writers from the pesantren tradition choose to publish their works on online platforms? Secondly, what are the predominant themes, genres and ideological messages present in their writing? And finally, to what extent do these platforms benefit women in developing their professionalism?

The paper discusses the issue of translating terms related to artificial intelligence and digital literature; it tracks important terms and concepts in the digital field and studies the process of transferring them into Arabic through translation and Arabization. Since the nineties of the last century, Arabic works that deal with the relationship of literature and technology began to appear successively, heralding the emergence of new literary forms and genres. These works have so far tended to translate the terms they encounter into Arabic, but as their translation methods vary, confusion has been the result. Hence, some researchers prefer to Arabize Western terms, since accurate Arabic alternatives are difficult to find. [ABSTRACT FROM AUTHOR]

This article explores code as part of a reading strategy, focusing on a case study of works produced as part of a programming challenge entitled National Novel Generation Month (NaNoGenMo). For the challenge, participants needed to develop a programme that produces an output, most often a creative text, and make both the output and its source code available to readers. I approach the NaNoGenMo texts as works involving multiple audiences with different capabilities. I argue that examining the code alongside the produced text is a reading strategy that offers a different reading experience than that of reading the work without the code and that the source code can provide insights into the work's authorial intention. As computer-generated texts are becoming increasingly ubiquitous, discussion of their authorship is as relevant as ever. This article offers one perspective on this discussion and on the significance of authorial intention in computer-generated works. [ABSTRACT FROM AUTHOR]

Copyright of Estudios de Teoría Literaria is the property of Estudios de Teoria Literaria and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Digital literature is literature in electronic/digital media. Such literature offers a forum for intensive communication, in which readers may provide suggestions, ideas, opinions, and comments. This feedback can provide new insights for a digital fiction storyline. This is what is called as a collaborative idea. The information transfer process on Wattpad uses the circular model of communication created by Osgood and Schramm during 1954. This research is conducted using the phenomenological method. The data is taken from a popular novel entitled The Devil's Own. The data is grouped using the theory of readers' comments patterns on digital literature. The results of this study show that the transfer of information on the Wattpad digital platform can be in the form of ideas, criticism, opinions, suggestions, and information, each of which represents a two-way form of interaction between the readers and the writer. This interaction continues until the work is complete. In the collaborative idea phase, the digital literary work is enriched through the process of combining the writer's and the readers' ideas. The combined ideas may contribute to further development of the story. [ABSTRACT FROM AUTHOR]

With the digital remediation of text, the didactics of French could take advantage of new literary objects to teach digital literacy (Lebrun et al., 2020). One of the prospects put forward is to exploit video games as one of the forms of digital literature, a field in which it is possible to train secondary school students (Brunel and Bouchardon, 2020). Thus, as part of this doctoral research, a corpus of three video games with high literary potential was developed and then analyzed from a ludonarrative perspective (Barnabé, 2014 ; Ensslin, 2014). It will then be played by four to six adolescent gamers. In this article, the problematization of the research topic, the constitution of the video game corpus, and an analysis excerpt for the game Gris (Nomada Studios, 2018) are presented.

This article aims at focusing on the survival of a classic such as Posthumous memoirs of Bras Cubas from the turn of the 19th century (1881) to contemporaneity through an operation of intermediality between the printed book and the digital medium, with the hypertextual form as a mediating element, in latency in the book. The creation of an interface on a website accounts for the expansion of the book to new domains, now having associative hyperlink flows and interactivity as decisive factors for the survival of the novel. [ABSTRACT FROM AUTHOR]

In this article, I present an analysis of contemporary digital literature works aimed at children and young adults based on the theory of remediation by Richard Grusin and Jay David Bolter. In the first section I discuss possible advantages and limitations of this theory when applied to the digital literature for children and young adults studies. Subsequently, I argue that the main remediation logics - imitation, enhancement, remodeling, and absorption - are presented in different formats of digital works addressed to this audience. Finally, I emphasize that the concept of remediation is valuable for understanding the predominant characteristics of these works, provided that its categories are not regarded as fixed or inflexible. [ABSTRACT FROM AUTHOR]

This essay proposes some reflections about changes in the author's role and the ways of consuming culture based on considerations about the technological changes that have affected the materialization of literary texts since the creation of the mobile press in Western Europe and especially since the 1990s, when the popularization of personal computers and internet access led to unprecedented challenges for authors and readers. [ABSTRACT FROM AUTHOR]

Considering that digital literature started to address the reader's bodily dimension since the 2000's, we suggest that this state of affairs has its provenance in a development line of the material aspect of the literary works. To speculate on the literary-historic sense of this, Giambattista Vico's, Northrop Frye's and Maurice Merleau-Ponty's thoughts are considered, as well as a short journey through the history of digital literature is made, looking on works said to be highlights of this history by researchers of the field. We conclude that digital literature went through an inverted course than the one suggested by Frye for non digital literature when it comes to its formal and material aspects. [ABSTRACT FROM AUTHOR]

Comparing concrete poetry to the clip-poems format, nowadays considered a cibertext, this article aims at to analyze nine productions by Augusto de Campos: "Luxo", "TVgrama 2", "Ininstante", "Sem saída", "O pulsar", "Criptocardiograma", "Pessoandando", "SOS", and "Cidade / city / cité". In order to present the effective movement, the interartistic relationships and the animation effects as advantages of the cyberspace and hypermedia, the analyzed videos will demonstrate that computer graphics provides the enhancement of the concrete poetry's ideals that prevailed in Brazil in the 1950s. As for the theoretical basis, will be considered concepts by authors such as Julio Plaza, Cyril Barret, Lucia Santaella, among others. [ABSTRACT FROM AUTHOR]

Copyright of Research in Comparative Literature is the property of Razi University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Humanitas: International Journal of Social Sciences / Uluslararasi Sosyal Bilimler Dergisi is the property of Humanitas: International Journal of Social Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The bite-sizing of fiction and poetry on twenty-first-century digital platforms constitutes a mode of adaptation that not only adapts literature to new technologies, economies, and modes of production and consumption but also adapts discourses of literary time and space and longstanding metaphors of literature as 'food'. This article's central argument is that digital literary bite-sizing, a combination of byte-sizing (digitizing) literature and bite-sizing literary portions for consumption simultaneously compresses and expands literary space and time and literary consumption. It is well documented that digitization, itself a technology of 'byte-sizing', has compressed literature into the tiny spaces of globally portable, hand-held devices, and reduced the time taken to access literature, paradoxically generating an exponential increase in the number of literary producers, products, and consumers. This essay considers how a concomitant bite-sizing of literary content on twenty-first-century digital platforms produces a further paradoxical compression and expansion of literary production and consumption. The adaptive dynamics are by no means homogenous, but amid a variety of producer reasons for bite-sizing literary portions, the sizes of portions nominated 'bite-sized', and consumer responses to them, the dynamic of compressed production to foster greater consumption remains, where 'greater' is not always a matter of quantity but in some cases a matter of quality. Although bite-sizing digital literary portions represent a literary adaptation not only to new technologies, platforms, and but also to digital bite-sizing more pervasively. Conversely, bite-sizing adapts to specifically literary practices and tropes that depart from discourses of bite-sizing other digital content. [ABSTRACT FROM AUTHOR]

Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Babylon Center for Humanities Studies is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Miscelánea: A Journal of English & American Studies is the property of Miscelanea: A Journal of English & American Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article explores the work of two contemporary poets, Alice Oswald and J.R. Carpenter, with reference to the material and immaterial aspects of their poetic projects. It is argued that although disparate in their form, both artists' works are linked by their interest in the environmental forces as (im)material manifestations of more-than-human agency. In this sense they can be seen as belonging to a longer and broader strain of poetic endeavours (like concrete poetry and land art) that struggle to problematise the relationship between form and meaning. The article also employs the notion of earth scripts which allows to see such poetic and artistic practices as forms of descriptions of the earth characterized by differing degrees of sensitivity to the environmental challenges posed by the Anthropocene. [ABSTRACT FROM AUTHOR]

Copyright of Universum is the property of Instituto de Estudios Humanisticos Juan Ignacio Molina, Universidad de Talca and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Digital Literature for Children and Young Adults (LCYA) reveals children and young adults’ experiences in the real world from their perspectives. It also portrays that most children and young adults face complex and enormous challenges in this digital world to find their true selves, potentials, and future, particularly during this COVID-19 pandemic. The goal of this LCYA is in line with Jesuit’s Universal Apostolic Preferences (UAP), which “commit to promoting a healthy and safe environment for children and young people so that they can develop their full potential as human beings.” Therefore, this research scrutinizes Universal Apostolic Preferences (UAP) values reflected in selected COVID-19-themed Digital Literature for Children and Young Adults (LCYA). Importantly, Digital Literature is a Garden of Eden for digital natives, Gen-Z, and digital readers where they can access literary texts from their smartphones, tablet, and laptop. These issues are essential to be discussed because children and young adults are the future generations, the future world, and future humanity. This pandemic should be seen from a different perspective, for this condition has encouraged us to take care of ourselves and others, especially children and young adults. Importantly, those digital works are also reminders that children’s and young adults’ energy and spirit can bring love and changes to our planet. This research attempts to develop our empathy in understanding the loneliness, misery, and suffering of others during this difficult time. Digital Literature and Literature for Children and Young Adults (LCYA) discourses are suitable for use since this research uses digital short stories highlighting children and young adults’ lives during the COVID-19 pandemic.

Starting with the explication of title terms derived from theories of ergodicity (E. Aarseth), new media and visual arts (Mitchell W. J. T., A. Hescher), i.e. from the practice of digital literature and graphic novel, this paper points to their increasingly significant presence within the framework of contemporary Serbian (printed) literature, which is observed as an outcome of the implications of the altered technological-communicational, socio-cultural, and economic contexts on the literary creation and the reception of literature. Are the strategies of ergodicity, graphism, and multimediality (present in the forms of nonlinearity, playability, interactivity, synthetic visual and narrative forms, cinematographic dynamics etc.) expressions of authentic artistic inspiration that seeks for new means of expression and finds them in the sphere of visual and digital, or products of the author's desire to get closer to the reader and expand the circle of his addressees? Are we within the space of a literature experiment or are we talking about new, hybrid genres that are still a step above literature understood in the traditional sense? Are all the graphic and multimedia "extensions" of the narrative causing benefit or detriment of literature and overall aesthetic value? These are some of the questions that the paper seeks to answer through theoretical insights, as well as several brief analytical reviews of specific works taken as case studies, by authors S. Vladušić (Mi, izbrisani), T. Stupar Trifunović and T. Vidojević (More je bilo mirno), U. Krčadinac, L. Pašćanović, and M. Đedović (Bantustan: Atlas jednog putovanja).

In this article we make a theoretical approach to virtual textuality, namely digital literature, as a form of its manifestation, starting from studies signed by Espen Aarseth, Luciana Barroso Gattass, Esko Lius, Mirela Rusu et al. The concept of “digital literature” marks the emergence of a literature located in the virtual environment, that goes beyond traditional textualism by providing a new material and environment for creation. The reader moves to another level, and the pose of a network user gives him the opportunity to be (co)author and character. Virtuality offers a much wider creative space, in which different portals are opened that offer both access to literature and the software to create it. Digital literature products start from digitized versions of printed literature, culminating in literary products created exclusively on the network; it challenges the limits of language, fusing the artistic image with the code, and the Saussurian signifier and signified reconfigure from a binary unit into a “flickering” unit. Digital literature causes a serial reorganization and innovation of the theory of literature, requiring an appropriate tool, performing genres and literary species with novel, hybrid forms, which involve the merging of textuality with technology. Literates, with or without implications in the production of digital literature, react quite adequately and positively to the development of digital literature, an example is the extract of opinions from the ”Vatra” magazine survey. Literature is not ”dying”, but in a crisis of (re)conceptualization, which announces the emergence of new forms, which respond to the evolving technologies, culture, politics, society, etc.

This article focuses on the study of digital literary works, whose existence no longer needs to be demonstrated. If these works have often been examined by their poetic characteristics (multimodal dimension, interactivity, etc.), the understanding of their immediate anchorage in their context (technological and sociodiscursive) remains to be perfected. It is a study of the materiality of the digital works that this article proposes, allowing to seize them in their processual nature under two angles: the upstream and the downstream of the work. The attention paid to the genetics of digital literary works leads to attesting to the difficulties posed by writing in a digital context, which is hidden behind often opaque systems. The study of the performativity of works, on the other hand, allows us to situate them in their environment and to better observe their dependence on the contexts in which they are read. The understanding of digital literary practices is thus enhanced, as the works are perceived differently than by their immanent characteristics. [ABSTRACT FROM AUTHOR]

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This essay juxtaposes three recent publications, Vicente Luis Mora's Circular 07. Las afueras (2007-), Kenneth Goldsmith's Capital: New York, Capital of the 20th Century (2015), and Jorge Carrión's Barcelona. Libro de los pasajes (2016), in order to explore how contemporary digital technologies construct and fragment urban experience on a global scale. Despite their different political intentions, these three works share a common aesthetic of appropriation, unoriginal quotation, and fragmentation, as they are also all modelled after Walter Benjamin's Arcades Project. Just like Benjamin did with Paris, each of these works focuses on a particular Western city-Madrid, New York, and Barcelona-now being proposed as paradigmatic representations of urban experience, which is meant to mimic digital media's modularity and disintegration. Goldsmith's use of appropriation is read as a blank endorsement of digital mediation of everyday life, which sits in opposition to Carrión's and Mora's political projects. Circular 07 and Barcelona mix unoriginal writing techniques, like Goldsmith's conceptual writing, with other experimental methods to warn readers against apolitical adoption of digital technologies. Fragmentation is still proposed as the most important aesthetic form of twenty-first century writing, but these two Spanish works strive for its contextualization as a complex mechanism structured around reader/writer subjectivity. Finally, this essay ponders how to consider new reader/ writer subjectivities within the larger context of global cities in late capitalism.

With the rise of various practices of publishing (making literature available to the public), it seems necessary to better frame and define what is increasingly referred to as the “literary arts”, a term that refers to the idea of “living literature”, which unfolds outside the book. Closer consideration of these practices supposes to situate them within North American and European literary circles, to see the state of critical discourse about them and to reflect further on their terminological capture. Text-based events, text exhibitions, and mediated literary texts: all literary arts can be gathered under these three headings according to the relationship that texts maintain with the medium, the public and the socio-cultural context. A proposal for an inventory and classification of current practices is submitted to the community, in order to give institutional existence to these new ways of publishing literature.

The Iraqi writer Muḥammad Khuḍayyir has in recent years published numerous fictional sketches and articles online. One of the factors that has led to this late flurry of production has been the perilous state of Iraqi culture, especially after 2003. Khuḍayyir has reacted to the threats to the Iraqi cultural memory by writing articles in which he pays imaginative homage to the writers of previous generations (like Mahdī ʿĪsā al-Ṣaqr). The imagery Khuḍayyir uses in his articles is a crucial part of the innovative way in which he tries to preserve a 'memory of literature'. However, in his fictional sketches, Khuḍayyir evokes a poetics of fire which expresses his scepticism as to whether a recovery of the literature of the past can have real purchase in the current Iraqi cultural landscape. Khuḍayyir's use of the internet to disseminate his cultural narratives confirms the ambivalent cultural space he chooses to inhabit. [ABSTRACT FROM AUTHOR]

This article looks at how games created with the ChoiceScript authoring tool create a situation in which players construct a sense of self using the developer's assumptions hidden within the code. Some interactive narratives use statistics (also called 'alignment systems') to keep track of player choices, saving them in the form of character descriptions such as 'Good', 'Humanity' or 'Booksmarts'. ChoiceScript is an authoring tool designed to encourage the creation of text-based interactive narratives that heavily revolve around such stats and the prominent display of a 'Show Stats' page. This article explores how many ChoiceScript games use the procedural enthymeme to embed the developer's assumptions into their stats. Many ChoiceScript games also have a structure that is evocative of pop culture personality tests. These two elements – the procedural enthymeme and a pop culture personality test structure – combine to generate an experience of developer-mediated self-curation. [ABSTRACT FROM AUTHOR]

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