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This article represents an attempt to begin a dialogue among the research community to identify what is known about using technology in various content areas. Although it does not present new empirical data, it does offer the reader one researcher's perspective on technology in literacy and language arts. The author discusses the effects of hypertext and digital texts on literacy and suggests pertinent areas that need to be addressed by further research. These include: (1) Do traditional reading and writing strategies applicable to print-based materials transfer to digital text? (2) What are the best methods for fostering students' ability to critically evaluate digital information? (3) Do the reading processes inherent in navigating through the associative web of hypertext transfer to reading print narratives? and (4) What comprehension abilities are prerequisite to derive meaning from hypertext?

Lynd Ward’s wood engravings for the 1934 illustrated edition of Frankenstein push the boundaries of what it means to “read” an illustrated edition of a novel in conversation with its cultural afterlives, its material dimensions, and its queer undertones. Using French literary theorist Gérard Genette’s definition of hypertextuality, this paper explores the radical ways in which nontraditional texts like Ward’s wood engravings and Shelley Jackson’s 1995 hypertext novel Patchwork Girl speak to the reading experience through their use of framing devices—a tool borrowed from Shelley herself. This essay reads Ward’s work through the lens of Patchwork Girl’s critical apparatus, concentrating on how the emphasis on the creature’s body speaks back to the voyeuristic desires and expectations of the reader.

Background Methods Results Conclusions Internet documents are characterised by their non‐linear hyperlink structure, which allows for more flexible reading, at the cost of higher cognitive loads. Linear text reading comprehension skills contribute to hypertext comprehension (either directly or through its impact on navigation behaviours) but cannot fully account for its complexity. There is also evidence that hypertext reading engages executive functions, but few studies have addressed the core executive function processes simultaneously. This study examined hypertext comprehension and navigation skills and their association with linear text reading comprehension and executive functions in adolescents.One hundred thirty‐six third‐year students (61% boys; age: M = 14.03, SD = 0.44 years) participated in the study. Students were assessed with a paper‐and‐pencil expository text comprehension test, a computerised neuropsychological battery to measure executive functioning (perceptual and response inhibition, shifting and working memory [WM]) and a hypertext comprehension task.We found direct contributions of shifting, linear text comprehension and navigation efficiency to hypertext comprehension. Linear text comprehension was associated with shifting, while navigation efficiency increased with WM and linear text comprehension skills. In addition, navigation partially mediated the effects of linear text comprehension and fully mediated those of WM on hypertext comprehension.We found direct and indirect contributions of executive function to hypertext comprehension, mediated by linear text comprehension and navigation efficiency. This suggests that finding and integrating information from hypertexts engages shifting beyond its contribution to linear text reading. The role of WM was explained by its contribution to navigation efficiency (providing a workspace to keep track of navigation paths, reading goals and inferential processing). These findings underline the relevance of high‐level cognitive abilities for Internet reading in adolescents, as well as the importance of teaching boosting navigation strategies in middle school, given their impact on hypertext comprehension. [ABSTRACT FROM AUTHOR]

Digital technologies development stimulates game elements inclusion into culture and different spheres of society. The identification of regularities and specifics of this process became the purpose of the study. The research methodology was based on the J. Huizing’s “man playing” concept and K. Verbach’s system description of gamification mechanisms. On the basis of these concepts, a grid of typical features of gamification has been compiled and gamification processes in different sociospheres analyzed. The research methods included the emerging gamification practices analysis. Based on the analysis results, trends and risks of implementing the game element into culture have been identified. The complex influence of gamification process on society and culture is manifested by consumers’ demand for interactivity, personal participation, and involvement (immersiveness) in almost all types of activities. These needs are strengthened under the influence of clip culture, making it easier for individuals to assimilate disparate and fragmented pieces of information. The request for immersiveness is closely related to the human need to be the author of the “text”, to control the plot, to create a plurality of readings (hypertext). It has been shown that gamification stimulates innovation in various areas, leads to the emergence of new products, processes, and services. The main risks of gamification development have been highlighted: hyperorientation to entertainment in areas that traditionally involve effort, and manipulation of people’s behavior in areas related to “shoulds”.

The Iranian famous artist Parviz Tanavoli in order to keep the name of his teacher alive has chosen Farhad Kohkan from Iranian literature as a subject for his sculptures. He has mixed the figure of Farhad with Saqakhane water taps, locks and windows of blessed places in his art works. In this way he connected thoughts and beliefs of a nation with his own taste. There is a mixture of intellectual approach and modern art devices which has also received the praise of traditional art fans. When facing these statues, a little proximity to the human body can be found. These sculptures are attributed to Farhad, due to the expression of the artist and the naming of the works. This research examines the differences and commonalities of Farhad's character in the Nizami story and Tanavoli sculptures. Analyzing the meanings in the hidden layers of Farhad's personality in Tanavoli's works is another goal of the research. The research questions are: 1. How can Farhad in Khamsa Nizami be interpreted as hypotext and Farhad in Tanavoli's works as hypertext and what are the points of commonality and difference between them? 2. To what extent has Tanavoli been faithful to Farhad's character in hypotext and what are the meanings and concepts of the artist's additions in Hypertext?This research is based on a descriptive-analytical method with a comparative approach. The method of analyzing works is qualitative. Parviz Tanavoli has 15 copper sculptures related to Farhad Kohkan, among which 9 works were selected as research samples in a non-probabilistic way.The results of the research show that the words Parviz and Bulbul have appeared in visual texts with clear verbal reference to the writing system. In the visual text, Farhad's character is referred to the verbal text with implicit references. In hypertextuality, the artist in the creation of Farhad's character has in all cases transformed, replaced and increased the proportion of hypotext. Due to the transformation and change of nature combined with the humor of street market, Farhad's character transformation in the form of travestissement is observed. The artist has tried to use the content of the verbal narrative to create a new narrative based on their mental desire in hypertext. The titles chosen for works such as paratextuality have increased the connection between hypotext and hypertext and directs the perception of Farhad Kohkan's character in hypertext by the readers. The author of hypertext did not limit himself to the general theme of the verbal text, he tried to deal with the character of Farhad with a different approach in the content. Therefore, the relationship between verbal text and visual texts based on derivation with transformation, increase and substitution, has led to the expansion of internal elements in the form of travestissement and charge in the text.

Among numerous calligraphy scripts, Nastaliq is inseparably associated with Iranian culture and literature, as it represents part of Iranian culture and art. The consonance of Nastaliq’s appearance with the spirit of Persian poetry provided the basis for more interaction of this writing style with Persian literature to give a balanced structure to the rhythmic poems. This script has various forms that are mostly applied in poetry, calligraphy, and Chalipa as kind of it. The quatrains No. 103 of Khayyam’s poem with a high degree of repetition by calligraphers in the form of Chalipa have been addressed in this research. To comprehend the concepts behind these artworks, it is required to study the textual relationships between them and carry out the relevant transtextual studies. The transtextuality approach of Gerard Genette targets all existing relationships between texts, among which hypertextuality is more adaptable to artistic texts. This term is defined as the influence of one text on another. Therefore, this research aims to systematically study the quatrains 103 of Khayyam’s poems, to address the textual relationships among them. The main research question here is to know how the hypertextuality of Genette can be identified in the mentioned works. The research method was based on a descriptive-analytical approach, and the data were collected relying on documented resources and observation by using qualitative analysis. According to the research findings, the reference to the hypotext in these works is significant, and the function of hypertexts is often serious, so the process changes very slowly.

Purpose of the study: to consider and implement in practice a system for displaying content on screens of different resolutions and orientations in relation to an educational institution, using both a pure Smart TV (built-in browser of modern TV) and a player connected to Digital Signage screens. In system engineering, the main emphasis (and, as a result, the key task) is on the absence of duplication of content for different types of output screens (including interactive touchscreen kiosks), which is especially important because the implemented system will be built on free, open-source technologies and integrated into the current university website, which no other proprietary Digital Signage software system can offer.Materials and methods: the study uses different methods of transformation and output of content, but adaptation methods based on cascading style sheets (CSS) are mainly used. The experience of foreign programmers working with adaptive layouts for the web and operating their own blogs was studied (in the “Reference” section). Compromise methods for displaying graphic images and video materials are considered and proposed based on the experience gained during testing of the prototype system.Results: development of a system for displaying content on multi-format screens, requiring minimal subsequent support and intervention from the administrator responsible for filling it with content. An analysis of some potential solutions and their compatibility was carried out, taking into account browser support for CSS3 and HTML5 standards, and working solutions were selected that can be used in the design of individual templates for displaying content in hypertext format and CSS designs (rules) that work for the purpose of the study. The article compares approaches to designing adaptive templates for displaying web content in HTML (hypertext) format. The basic principles are considered under which content intended primarily for a university website can, without a third-party administrator (and also, in some cases, with minimal intervention) be displayed on corporate TV and touchscreen kiosks of universities thanks to the use of cascading style sheets (CSS) and relative units of measurement (vh, vw, vmin, vmax) and tags introduced in HTML5. The article also discusses how to level out the nuances associated with different resolutions of graphic images and screen orientation.Conclusion: the final paragraphs of the article conclude on the nuances of the functioning of the developed system, the effectiveness of which directly depends on methods of implementation and technologies used, chosen and discussed in the article. The implementation of the system will increase the awareness of students of an educational institution about events (announced or conducted), and will allow the system administrator to increase work efficiency by publishing and administering content only in “one window” (for example, on the university website), and the developed output template and/or CSS rules will display it on the internal screens, maintaining readability and perception of information. The developed and tested methods can be used by programmers, working in educational institutions.

Introduction Based on Fairclough's approach in discourse analysis, narrative texts can play an important role in recreating cultural, political, social structures and producing meaning. "Behjat Afza" is a long story by Mohammad Mahdi Jorbadghani in the Safavid period, which has a transcendental texture in its structure. By examining the linguistics of Behjat Afza story, the underlying and hidden layers of the text, i.e., the state of the relationship between power and ideology during the period of Shah Abbas I and Shah Safi, are revealed. The text is analyzed in three layers: description, interpretation and explanation. The basic hypothesis of the research is that in the story, a discourse rules, worthy of the power and social status of each of the characters. By examining this story on the three levels of Fairclough's model, it became clear that the different use of words, the use of different linguistic and grammatical aspects, the difference in persuasive methods, the views of the characters in the story about each other, and the openness and covertness in the speech are directly related to the difference in the role of power in this story. The purpose of critical discourse analysis is to clearly analyze the structural relations of dominance, discrimination, power and control that are revealed in language. Methodology In this study, according to the research topic, the two descriptiveanalytical and library methods have been used. First, with the library and documentary method, the target texts were collected by referring to the Latin texts of discourse analysis, especially Fairclough's opinions, and translations in this field. In the next step, based on the three levels of description, interpretation and explanation, the story of Behjat Afza was analyzed according to the analytical method appropriate to the topics of discourse analysis and the main component, that is, power. In the second level, i.e. meaning interpretation, attention was paid to intertextuality and texts similar to this story, and in the third level, historical topics corresponding to the concept of power were explained.. Discussion Behjat Afza can be a good linguistic mirror of the 11th century. A language that is a mixture of popular phrases and interpretations as well as old words and phrases. The prose of this work is simple and in some cases ambiguous and obstinate. From among the three prose styles of the period, i.e. simple, artificial and complicated, and intermediate (average) prose styles, Behjat Afza's prose can be considered as intermediate prose. The text begins with the praise of the Lord, the Prophet and Imam Ali. Then, customarily, the author praises the two Safavid kings and mentions the historical events that happened during the time of these two, and the bravery of the Safavid kings in the battles. After that, he explain the reason for wrting the book, and finally starts the story. The three main elements of discourse are "text, interaction and social context", and in the critical analysis of discourse it is necessary to distinguish between the three stages of text description, interpretation of the relationship between text and interaction, and explanation of the relationship between interaction and social context (Guderzi, 78:1388). Conclusion One of the main components of critical discourse analysis is "power" because what forms the equations between societies is undeniablly the power. The extent to which individuals benefit from power advances or ceases their position. People are considered powerful or not, according to the degree of connection and relationship they have with him who has the most power. In Behjat Afza's story, the Safavid system has the largest share of power. Since Badiozaman is a representative of the government, he also has great power in using words and sentences, the manner of addressing others and expressing demands. Khaqan-e Chin (Emperor of China) also exerts the most power in his speech and actions throughout the stoty, but when he talks to Badi-o-Zaman, he chooses a paternal tone, because Badi-o-Zaman also represents the Safavid Shah and the land of Iran. Badi-o-Zaman conducts the important mission that the goverment emphasizes (expansion of the Shia religion) and finally it is Badi-o-Zaman who imposes his power on Khaqan-e Chin; Khaqan and his daughter convert to Islam and the Shia religion. The use of different aspects of the verb is also directly related to the power of people in the story. One of the most important social issues in this story is the view of women; there is no directness and authority in the words of the women of this story, except for Dalaleh, who also fulfills the role to unite Badi-o-Zaman to her lover, Parizad, by observing all aspects, and because of this, she sometimes feels more powerful, which is evident in her expressions. What is evident is that the powerful men of the story are always clear in expressing their wishes. Based on the results of this research, it is clear that Mohammad Mahdi Jorbadghani, the creator of Behjat Afza, paid a lot of attention to the component of "power" and consciously followed the appropriate criteria in creating the characters of the story. [ABSTRACT FROM AUTHOR]

Digital literacy can be defined as a set of skills for searching, accessing, navigating, integrating, and evaluating the reliability of information on the internet, mainly in written form. The present study aimed to examine the contribution of executive function skills (inhibition, cognitive flexibility and working memory) to performance on a digital literacy assessment tool in college undergraduates. Eighty-five Argentinean university undergraduates (56 female, mean age 20.34 ± 4.6 years) completed a digital literacy test and a computerized executive functions battery. After controlling for vocabulary scores and sociodemographic factors, cognitive flexibility was the main predictor of digital literacy scores. In particular, it was associated with information search and integration task performances. Visuospatial working memory predicted information search scores and inhibition correlated positively with reliability evaluation tasks. Our results indicated: 1) a general involvement of cognitive flexibility in digital literacy, possibly reflecting the need to shift between multiple documents, reading or navigation strategies; 2) a specific link between visuospatial working memory and information search, which might be indicating a spatial processing load related to hyperlink navigation; and 3) a possible involvement of inhibition in the evaluation of web documents, which may contribute to the suppression of irrelevant information. [ABSTRACT FROM AUTHOR]

This article aims to identify the linguistic features of English-language educational discourse in terms of structural, descriptive, semantic, and cognitive-pragmatic analyses. The relevance of the study stems from the need to identify trends in the representation of language components in modern grammar textbooks within the communicative-pragmatic paradigm of educational discourse. The authors focus on the linguosynergetic potential of the English grammar textbook “English Grammar in Use” by Raymond Murphy, manifested in changes of certain discourse markers in all five editions. Employing a multimodal discourse analysis methodology, this research scrutinizes the verbal and visual disparities—encompassing graphic elements, letter capitalization, italics, font, and color—that hold pragmatic value and fulfill various roles, from engagement to information conveyance. The authors also investigate the interference of advertising and educational discourses and the small-format nature of texts in this self-study textbook, whose hypertext structure and internal navigational system serve as a surrogate for teacher guidance, thereby performing a directive function. A diachronic analysis of communicative scenarios within the textbook’s exercises reveals the dynamic utilization of interjections, underscoring their importance in creating an emotive-expressive backdrop that facilitates the acquisition of grammatical phenomena, reflective of their real-world application. Thus, in an attempt to represent the features of natural communication and to avoid the use of linguistic terms, the author of the textbook presents complex grammatical material in the most accessible form for a wide audience. Consequently, the study highlights the textbook’s increasing emphasis on the personality-bound component, complementing the traditionally dominant status-oriented approach in educational discourse.

The article introduces attraction marketing methods employed by Russian monthly popular science magazine Diletant. The authors compared the printed version and the website. The paper magazine attracts the reader mainly by the topic name printed on its cover as a unique creolized text. The further semantics of the front media text includes various aspects of the main topic. Color highlights both topical issue and regular features. The comparative analysis with the online version revealed some significant differences. The website has a muted color scheme and minimal animation; it contains neither video nor audio materials. Like in the printed version, the function of attraction belongs mainly to illustrations and subtitles. Online Diletant is interactive in navigation, tests, and surveys, which are, however, the only form of interactivity: the site does not provide comments, forums, “likes”, etc. Such limited use of attention-seeking tools makes the digital version of Diletant uncompetitive and inferior to its paper issue.

Chants, Hypertext, and Prosulas: Re-texting the Proper of the Mass in Beneventan Manuscripts. By Lu isa Nardini. New York: Oxford University Press, 2021. [xvi, 310 p. ISBN 9780197514139 (hardback), $75; [...]

Copyright of Plaridel is the property of University of the Philippines - Diliman 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.)

Поднимается проблема неоднородности цифрового чтения. По аналогии с континуумом реальности – виртуальности П. Милгрэма и Ф. Кишино предлагается рассматривать чтение с экрана не как единую монолитную систему, а как континуум, включающий множество модификаций. В теоретической части статьи представлена типология видов электронного текста и модификаций чтения. Анализируются как простые модификации (например, чтение оцифрованного текста), так и сложные, в том числе чтение гипертекста. Показано, что не только чтение интерактивного онлайн-текста, но и монокодового вербального в формате PDF существенно отличается от бумажного по ряду параметров. В качестве ключевого вопроса в проблематике цифрового чтения рассматривается проблема понимания. В практической части на выборке школьников 5–9-х классов представлены результаты эмпирического исследования половозрастных различий в уровне понимания монокодового оцифрованного текста. Выявлено, что при работе с бумажным текстом девочки успешнее (р ≤ 0,05), чем мальчики, выполняют задания на понимание, демонстрируя более внимательное отношение к фактуальной информации и лучше справляясь с определением концепта. Что касается чтения с экрана, значимых гендерных различий не обнаружено (р > 0,05).

This article applies a cognitive narratological approach to Janet Murray's conception of the "multiform" digital text that allows a user to experience multiple versions or alternative outcomes of a story. I argue from a psychologically-grounded position that branching narratives are fundamentally dissatisfying due to completionism, the onus of choice and diffusion of inherent stakes. With reference to two of my own texts, AMNESIAC (2021) and Mutiny on the Batavia (2022), I describe a version of the multiform story that makes use of a labile digital text-space while preserving the teleology of a linear narrative, and which speaks to the essential human experience of a unique, individual existence over time. Digital texts, I also argue, can dramatise both the arbitrary and contingent mental constructions of reality and the determinist nature of media forms. An increasingly immersive mediated existence means that experimental narratives in particular must fulfil our prior expectations of meaningful stories while also using the allowances of unbound narrative to keep written stories innovative, interesting and to expose their essentially constructed nature. [ABSTRACT FROM AUTHOR]

The experience of reading digital comics differs from that of other reading in that it involves the interplay between text and art, both "on the page", for example, as with the traditional comic book format, or "off the page" in interaction with devices, apps and "extras" the Alt Text in the webcomic, xkcd. This interplay and placement can communicate movement, stillness, suspense, bringing the reader along not only through content or story arc but also through the material affordances, the physical reality of the comic in combination with the technology. The findings of this exploratory study reveal both the varied reading experiences of digital comics as well as the shared experiences of haptic interactions and emotional perception and reaction through the use of devices, comics platforms and apps, and social media. Although webcomics, one type of digital comics, have long been a part of the evolution of hypertext, their place has not always been acknowledged in the scholarship. This research not only contributes towards an empirical, qualitative understanding of reader response to and experience of a range of digital comics including webcomics, but also addresses their role as an example of the haptics of hypertext fiction. [ABSTRACT FROM AUTHOR]

This article analyses Shelley Jackson's 1995 hypertext novel Patchwork Girl (PG) through the lens of intersectional feminist digital humanities scholarship. PG is a fascinating electronic literature artifact because scholars pronounced hypertext dead almost a quarter century ago. Hypertext was confirmed dead by Nick Montfort in 2000, though Montfort stipulated that the hypertext corpus could be resurrected. This article argues that PG's various resurrections qualify it to be considered an undead hypertext and re-centres hypertext's strong ties to intersectional feminist digital humanities scholarship, taking up Roopika Risam's call to resist the reinscription of the exclusionary universal subject so often defaulted to in contemporary scholarship and demonstrating how PG creates the antithesis to an exclusionary universal subject through the literal and metaphoric multiplicity of its titular protagonist. With a body made up of pieces of other women's bodies—pieces which retain their original personalities—Patchwork Girl is, as Marie Mulvey-Roberts dubbed her, the Everywoman. And as the Everywoman, she is able to take on the role of inclusionary universal subject, thereby making her a prototype of the sort of character capable of dismantling the restrictive notions of the exclusionary universal subject that Risam so adeptly identified. [ABSTRACT FROM AUTHOR]

Copyright of Gumushane Universty Electronic Journal of the Faculty of Communication / Gümüshane Üniversitesi Iletisim Fakültesi Elektronik Dergisi is the property of Gumushane Universitesi Iletisim Fakultesi Elektronik Dergisi (e-GIFDER) 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.)

In his 2014 intermedial word-image novel Theories of Forgetting, Lance Olsen focuses on human life's transience, impermanence, and fragility through his major characters, Alana and Hugh, and their children, who read their parents' diaries. The ideas about the fleeting nature of human lives are presented through intermedial configurations in the novel which are rendered through experimental usage of the topography of the page, hypertextual design, and inclusion of photographs and various visual media which altogether redefine the spatiality and materiality of the novel. The initial construction of the spatial form in the work comes from postmodernist narrative elements. Spatiality and space gain further significance in the novel's fictional world, or narrative space, with Robert Smithson's earthwork Spiral Jetty, which aims to show change, regression, and disintegration in nature as well as being the main inspiration in the ekphrastic ventures of the novel. Alana, one of the characters, works on a short documentary film on Spiral Jetty, leading her to think and question time and space and how space is subject to change with time. Hugh, another character, is a traveler in distant places like Europe, the Middle East, and Jordan, all of which turn into metaphors that help to shape the narrative and represent the mental spaces of its characters. Besides these stories on and about space, the print book also becomes a site rich with photographs, visual media, and verbal text. Through intermediality, the novel portrays a complex depiction of space at structural, narrative, and material levels. Such a presentation of the stories with postmodernist elements and hypertext and a critical sensibility of the materiality of the print medium turn the work into an art object to be viewed and read.1 [ABSTRACT FROM AUTHOR]

Julia Kristeva's theory of intertextuality is no stranger to classical noh theatre of Japan. Each play as a text is not self-contained and autonomous, but rather maintains a relationship with ideas beyond its own boundaries. A single text can be a hypertext, as Gérard Genette argues, and can include a number of hypotexts submerged in it. Correspondingly, a noh play (as an individual text) forms a constellation of submerged web-like interconnections with Japanese artistic and cultural values. Traditionally, these interconnections have been viewed through the lens of source criticism, thus giving preference to each influential relationship and making light of the interactivity of different elements. Among other noh plays, this article brings to the fore two masterpieces, Yoroboshi and Semimaru, each of which depict a maltreated young boy. They each include various borrowings and quotations from literary sources, folktales, and beliefs, which become integrated and build a web of intertextual associations. More importantly, this intertextual web can develop in such a way that suits the specific taste of each generation of the audience. In this respect, the audience plays a key role in the making of noh's intertextuality. [ABSTRACT FROM AUTHOR]

This article discusses our development of a new form of feminist Creative Analytic Practices (CAP) by creating knowledge through interactive video installation and web-based interactive re-storytelling (https://kimchoi.net/a-story-of-ones-own/). Since the 1990s, qualitative social researchers have been developing alternative methods and forms to capture and represent the complexity of lived experiences. Through referencing feminist postconstructionist CAP, Deleuzian rhizomatic narrative inquiry, and feminist film theories and films, our project – consisting of reflexive writing experiments and re-enactment of 43 older Hong Kong women's life stories in hypermedia – contributes to this expansive knowledge. Specifically, we describe our writing and production processes, including the strategies and tools considered, medium specificity and cinematic apparatuses used, and challenges encountered when attempting to create a nonlinear, multi-layered, polyphonic, and interactive narrative. Our main concerns are: How can researchers produce a self-conscious, research-based creative work that highlights women's agency under socio-cultural constraints, whilst acknowledging selfhood as rhizomatic, knowledge as situated, and "truths" as partial and multiple under conditions of its own making? How can we produce alternative social science research practices that carry both logic and affect? How can we engage the audience to open up and interpret older women's life stories in embodied and experiential ways? [ABSTRACT FROM AUTHOR]

Zenon Fajfer's introduced into poetry an original, interactive form called "the emanational poem," in which the multilevel acrostic is generative of simultaneously coexisting dimensions of text. The poet has used it in several of his works to render simultaneity, visibility and invisibility, potentiality and actuality. The article discusses the emanational form in view of Aristotle's concept of entelechy. Exploring affordances of the electronic and printed media, the author explicates how the potentiality for mobility and intertextuality can be actualised in Fajfer's "Ars Poetica," Spoglądając Przez Ozonową Dziurę, and Powieki, drawing attention to the role of the reader in this process. She mentions the aporetic tension between the principle of Aristotelian entelechy and postmodern concept of intertextuality, also referencing the relevance of Ned Rossiter's network theory to the interpretation of Fajfer's work. Focusing on Powieki, a multimodal cycle of emanational poems, published as a compound of the material book and the digital poems in the CD, the author postulates, following Pisarski (2014) and Marecki (2018), that it is an entelechy of the hypertext. Moreover, this richly hyperlinked cycle of poems can be seen as a rewriting of the Orphean katabasis. It invites contemplation of a complex, multidimensional space that should be explored in "slow," or close reading, which defies typical expectations of electronic literature audiences. Finally, it is argued that Fajfer's print-born digital hypertexts activate potentialities entailed in the matter(iality) of the writing in both media, the old and the new. [ABSTRACT FROM AUTHOR]

Comprehension tends to be less effective when reading on screens than on paper, particularly with texts that require a deeper understanding or when reading under time pressure. Recent evidence indicates that digital readers exhibit a tendency towards more shallow or superficial text processing and less metacognitive regulation. Emerging evidence on the reading of dynamic digital texts reaffirms the importance of visual and attentional constraints as per the reading of static texts, but also highlights the critical role played by contextual factors in guiding the use of reading strategies in digital environments. Although readers can develop adaptive reading strategies in response to different conditions, the efficacy of those strategies depends on various cognitive, metacognitive, and motivational factors. People increasingly read text displayed on digital devices, including computers, handheld e-readers, and smartphones. Given this, there is rapidly growing interest in understanding how the cognitive processes that support the reading of static text (e.g., books, magazines, or newspapers) might be adapted to reading digital texts. Evidence from recent experiments suggests a complex interplay of visual and cognitive influences on how people engage with digital reading. Although readers can strategically adjust their reading behaviors in response to their immediate reading context, the efficacy of these strategies depends on cognitive, metacognitive, and motivational factors. A better understanding of the factors that influence reading offers the promise of leveraging digital technologies to enhance the reading experience. [ABSTRACT FROM AUTHOR]

The paper develops a phenomenology of hyper-reading (i.e. the act of reading hypertexts) moving from the prejudicial approach to such texts, developing the three moments of presence, boredom and authority and concluding with some remarks on the freedom of readers in the act of navigation of hypertexts – especially those on the Web.

Purpose. Over time, paper educational materials are supplemented and replaced by electronic ones, so a new problem has arisen – the presentation of educational information in a new form, taking into account the wide possibilities of information technology. With the help of the Internet, humanity has created a huge system of hypertexts. The user, by creating his own route of movement through the links, creates meaning inside his consciousness, complements it depending on the information he meets. The use of hypertext in teaching mathematics allows you to organize a personality-oriented approach, explore the routes of students in a network structure. The purpose of the article is to focus the research on the investment of the case method in a hypertext structure, to create a case model using hypertext, to analyze the route system of the case model. The created hypertext case will be a prototype of the construction of educational material using hypertext technology and the case method. Methodology. The research is based on the analysis and synthesis of psychological-pedagogical and educational-methodical literature, on modeling the structure of educational material (case) using hypertext technology. Results. Creation of a hypertext case model for teaching semantic reading to secondary school students based on the analysis of the structure and elements of hypertext and case. Practical implications. The results can be applied in the creation of an electronic textbook on mathematics, a collection of mathematical cases for teaching semantic reading to students.

The aim of the article was to study the specifics of the interfaces of the U.S. university websites as multimodal heterogeneous texts that synthesize elements of educational, scientific and advertising discourses. The overall objectives to achieve the established goal were as follows: to identify and distinguish the types of multimodal means on the U.S. university website, which contribute to its genre mixing and genre embedding; to establish the nature of the interaction of verbal, non-verbal and para-verbal components of the U.S. university websites, and to determine their pragmatic features. The methodological basis of the research was a complex of the following methods: analysis (to study multimodal components of the university website as a specific multimodal text), synthesis (to identify the features of the integration of multimodal means of the websites of American universities), observation (for the selection of fragments with verbal means that actualize the visual content and the selection of visual fragments to actualize the verbal content), the method of discourse analysis (to highlight specific fragments of websites that arouse the interest of the authors of this articleб and have a meaningful content), structural method (to analyze the university website as a whole structure, which is provided by separate means of cohesion), functional method (to clarify the pragmatic potential of multimodal elements of the university website, which are means of communication between the university and the reader of its website). It also employed the system functional (drawing on the provisions of linguistic metafunctions, and focusing on the categories of the grammar of visual design) and the socio-semiotic (grounding on the interrelationship of modes, their compatibility and social needs for which they serve, making meanings) approaches. The chosen methodology made it possible to conduct a study of the multimodality of the websites of the U.S. universities, realized as a symbiosis of verbal, non-verbal and paraverbal resources. The multimedia corpus of the research consists of the websites of five American universities (Massachusetts Institute of Technology, Harvard University, University of Pennsylvania, Yale University and Рrinceton University). The main conclusion that can be drawn is that the complex discursive nature of the websites under study is determined by the features inherent in advertising (the benefits of services to influence the choice of the recipient), educational (the talk about the educational process and educational services) and scientific (information of a scientific nature is provided) discourses. All universities under study employ semiotic landscapes at their disposal to portray attractive brands on their websites. Being the most important way to ensure fast and effective communication of educational institutions with their target audience, the discourse of university websites has a pronounced pragmatic orientation. The purpose of the analyzed type of heterogeneous discourse is to create an image of an “ideal” educational institution, attract potential students, researchers, sponsors, and disseminate the latest achievements in the field of science and education. The concept of multimodality of the websites of the analyzed U.S. universities as specific multimodal texts is manifested in visual content through a number of paragraphemic and infographic elements, the synthesis of which is due to the combination of language tools, visual content and web technologies of modern website construction. The most common visual content exploited on the U.S. university websites embraces: unique photographs and “color” mode (photos of the university and its students, classrooms, laboratories, events, etc.), which helps to clearly illustrate the educational services offered, and give the desired emotional mood; infographics and data visualization, which is an effective way to combine text, pictures and design to present complex information (infographics do not always completely replace the text, more often it is its addition or retelling); video interviews with students, graduates, videos about studying at a university are one of the means to convince potential students to make an admission decision. Using video is a fairly popular form of visual content. With the help of video, the universities can not only diversify the content of their websites, but also satisfy the needs of those users who prefer visual content. Placing various videos on website pages allows solving the problems of reinforcing textual content, strengthening the arguments “for” admission and attracting applicants to university educational programs. In such a way, on the basis of the interaction of different discourses (advertising, educational and scientific) and various semiotic systems, a single visual-structural and functionally complete image of an attractive and popular university is achieved among readers of its website.

The study is devoted to the description of the linguopragmatic potential of media texts in the context of the informational and psychological impact on the individual and collective addressee of mass information broadcasting. As the key modern form of text existence in the information space, a media text contains not only verbal elements that influence the audience through either spoken or written words, but also non-verbal ones, introduced through video, picture and various sound means other than speech. The combined combination of communicative means of linguistic and non-linguistic nature enhances the information-psychological impact on the audience by achieving a synergistic effect. Due to the fact that with the complex use of verbal and non-verbal means, the media text acquires such essential characteristics as polycode and multimodality, its analysis should take into account not only the linguistic proper, but also the extralinguistic aspects of communication. Modern media text has a complex communicative structure that combines a text, hypertext, dynamic (static) image and sound, and provides a non-linear, multi-channel, multi-layered and multidimensional perception of the embedded conceptual and stylistic meanings. The aim of the study is to analyze linguopragmatic characteristics of a media text as the primary form of the informational and psychological impact realization in the modern mass media discourse. Descriptive, synchronic, diachronic and functional methods of research, as well as methods of contextual and communicative-pragmatic analysis have been employed. As to the material, the study is based on the analysis of theoretical works by Russian and foreign linguists for the past 30 years. The authors concluded that the information-psychological impact is enhanced by the use of PR and advertising techniques in the media text and is largely based on their application.

The article analyzes the phenomenon of clip culture. Alvin Toffler’s information society dynamics concept has become the methodological basis of the research. The purpose of the study is to highlight the universal characteristics of clip culture considering the current state of the info- and technosphere. The following characteristics of clip culture have been identified: tempo and rhythm changes, mosaic of images, focus on visual and emotional components, formulaic narration, hypertextuality. The changes are the most visible in the media sphere. However, they are also observed in everyday life, manifested by the variety of choices, kaleidoscope of images, and fragmentation of life itself. The results of the study may be of interest to sociologists, culturologists, psychologists, as well as specialists in the field of education clarifying the cognitive needs of modern young people.

В статье рассматривается категория авторитетности в медиадискурсе, являющаяся одной из основополагающих категорий в коммуникации. Несмотря на установленные данным типом институционального общения статусно-ролевые отношения между коммуникантами и их исходную неравноправность, с точки зрения авторитетности происходит постоянная мена ролей. В работе определены параметры (авторитетность источника, сообщения, канала) и характеристики (диалогичность, динамичность, градуальность), влияющие на функционирование авторитетности в медиадискурсе. Отдельно отмечается влияние канала передачи на авторитетность гипертекста и делается вывод о том, что в сети Интернет категория авторитетности трансформируется под влиянием новых технических возможностей.

The article deals with the issues of English hypertext organization. The goal of the study is to reveal the language patterns of overstatement recurrently used by English-speakers when producing hypertexts in literary communication of the XXI century. The study material includes hypertexts in the form of general readers’ reviews of fiction books posted on British and US book-selling websites and professional reviews by literary critics and professional authors published in online mass media. The analysis of the reviews reveals a number of recurrent language patterns used to implement overstatement. The comparative analysis of professional and non-professional reviews shows some differences in the use of language patterns of overstatement.

In this paper, we first construct the discourse knowledge structure of education in different disciplines so that the knowledge points in a certain cross-cutting area between different disciplines are finite sets called knowledge domains, and we use the network of the discourse field system to characterize the logical relations in the knowledge space. Secondly, by defining the elements of hypertext as a triadic structure, a specific chain of dependencies is constructed by combining the hypertext structure with the knowledge space. Finally, we conducted a comparative analysis of the knowledge structure of educational discourse in various disciplines. The results show that among 45 knowledge states, 15 attributes corresponding to the whole column have all 0 information values and the knowledge structure model based on the knowledge space can master the corresponding effective skills of students in different disciplines, which indicates that it realizes this learning process of knowledge learning from point to point, from concrete to abstract, and from part to the whole under different disciplines. This paper examines the use of discourse in various knowledge structures, which may provide insights into the teaching of English academic writing in China.

Purpose: This article analyses the structure of hypertext and the world wide web through the contrasting metaphors of the network and the rhizome and applies that analysis to the epistemic challenge presented by fake news. Design/methodology/approach: The paper is a critical and theoretical study of the development of concepts in information science. It outlines the limitations of the network metaphor and analyses the ways in which it has influenced both the development and critical understanding of the World Wide Web and its wider social and cultural consequences. The paper develops an alternative description of the ontological structure of the Web in terms of interrupted and dissipated energy flows. Findings: The paper argues that the Web is better described as a dynamic reorganization of the socio-cultural system that has no determinate boundaries and which is constituted properly in the spaces between technologies and the spaces between persons. Originality/value: The paper contributes to and extends research into the rhizomic nature of hypertext and the Word Wide Web and in understanding the role of metaphor in descriptions of hypertext and the web. [ABSTRACT FROM AUTHOR]

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The first part of the article with the title Reverberations of Caragialism in Andrei Pleşu's essays, completes the effort of systematizing the Caragialian literary legacy, by adding to the post-Caragialian literary corpus the publicistic essays written by Andrei Pleşu. In volumes such as Faces and masks of transition (Chipuri şi măşti ale tranziției), Comedies at the gates of the Orient (Comedii la porțile Orientului), The public obscenity (Obscenitatea publică), we find sufficient evidence of Andrei Pleşu's belonging to the literary trend of Caragialism. In this first part of the article, we point out that essential components from the paradigm of Caragialism, such as the irony and the sarcasm, the politics, the parade patriotism and the gastronomy are alluded to and revalued in Andrei Pleşu's essays, in a way that highlights both the viability of the model and Pleşu's endowment with an exceptional humoristic talent and satirical sense, worthy of a literary follower of I.L. Caragiale. [ABSTRACT FROM AUTHOR]

The article studies the phenomenon of deliberation as the main condition to create collectively meaningful content in the new social media discourse. The presence of an explicit dialogue in the form of a commentary text to the original message is considered the basis for generating a variant interpretation, as well as the most hypertext discourse in social media. Identification and description of key topics (situational media concepts) and commentary techniques for modifying their content are based on frame modeling. Distributive analysis of the lexical environment of the frequency verbalizers of the identified topics and its contextual interpretation make it possible to analyze the main directions for evaluating and gaining the significance of these markers of the media space. Based on the analysis of the primary text of the message, the obligatory character of the introduction of the implicit reader’s plan is established with the reference to the dialogue of the operational information presentation. An implicit reader from the status of a narrator, through the explication of his own opinion in the polycode space of social media, acquires the status of a narrator. The prototypes of messages and posts in the Russian-language segment of the social network VKontakte, as well as the metatexts of comments on these posts that support the original or generate new relevance vectors of key topics in the process of creating deliberative content, served as the material for the analysis. The study determined the ways of actualizing the individual content of the events described in the primary messages and mechanisms for further reinforcement of the evaluation vectors specified in the secondary commentary text. The intentional deliberativeness of the initially institutional media discourse is revealed. It manifests itself in the holistic perception of operational information, which undergoes meaningful transformation and clarification in the ad hoc commentary texts of user response.

In the article the author summarizes innovative practices related to the creation of a multimedia product. For this goal there were studied various parameters of a multimedia text, hypertext and multimedia tools in the transmission of information were identified. Also, the main trends in the transformation of genre forms and formats of multimedia content were spesified, and finally, the main methods of communication between a journalist and their audience were studied. For our research we interviewed journalists of new media, who told about the impact of innovative practice on changing basic professional competencies and methods of their work on multimedia content.

The first part of the article with the title Reverberations of Caragialism in Andrei Pleșu’s essays, completes the effort of systematizing the Caragialian literary legacy, by adding to the post-Caragialian literary corpus the publicistic essays written by Andrei Pleșu. In volumes such as Faces and masks of transition (Chipuri și măști ale tranziției), Comèdies at the gates of the Orient (Comèdii la porțile Orientului), The public obscenity (Obscenitatea publică), we find sufficient evidence of Andrei Pleṣu’s belonging to the literary trend of Caragialism. In this first part of the article, we point out that essential components from the paradigm of Caragialism, such as the irony and the sarcasm, the politics, the parade patriotism and the gastronomy are alluded to and revalued in Andrei Pleșu’s essays, in a way that highlights both the viability of the model and Pleșu’s endowment with an exceptional humoristic talent and satirical sense, worthy of a literary follower of I.L. Caragiale.

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]

The discursive imaginings around reading and writing have undergone radical changes in recent decades. Hypertextuality is one such concept that came to inhabit the new topos of literariness. However, hypertextuality has been conceived as inextricably bound to digital technology, not accounting for the new iterations of intertextuality, non-linearity and multivocality offered by print proto hypertexts. Print proto-hypertexts have proven that it is possible to tinker with the narrative's logical, spatial and temporal organisation with ingenuity and without being rendered incomprehensible. Milorad Pavić's Dictionary of the Khazars (1984) is a brilliant example of a print hypertext. Self-reflective on its hypertextuality and corporeality, the novel, in a way, also actualised the post-structural conceptualisation of an "open" text that is not circumscribed by the medium. This article uses Barthesian conceptualisation of writerly and readerly texts to argue that the print hypertexts presaged and even surpassed the digital reimaginings of textuality. [ABSTRACT FROM AUTHOR]

Copyright of International Journal of Language Academy is the property of Rota Kariyer 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.)