![]() We aim to explore the extent to which print-based narratological theories of the textual "you" apply to the texts under investigation and suggest theoretical tenets and taxonomic modifications arising from the way in which the reader is involved in their construction. The article has a specific focus on how the text implements second-person narration and other forms of the textual "you" in juxtaposition with other narrative perspectives. This article offers an analysis of two Storyspace hypertexts, Stuart Moulthrop's Victory Garden and Richard Holeton's Figurski at Findhorn on Acid. Keywords: materiality, gender, feminism, hypertext, Frankenstein, Patchwork Girl, monster, Shelley Jackson. The deployed theoretical framework draws on visual culture, women’s studies, literary studies, and philosophy nevertheless, the dominant analytical toolbox is that of a literary close-reading. Additionally, the thesis suggests that the hypertext provides an accessible, albeit complex, journey into the land of feminist theory, stopping at various key terms and concepts, such as human and non-human agency, text/author, body/text, and memory/subjectivity. The interplay of texts stemming from various sources and dictions combined with striking images creates a quilt of multiple truths in this manner, Patchwork Girl expresses a non-hierarchical stance between truth and untruth, as well as fact and fiction. The role the technologically mediating apparatus of the Storyspace software plays in this figuration is central. The hypertext work mobilises representational elements of horror, abjection and “unnaturalness” whilst operating on the symbolic, cultural, and imaginary level. The thesis explores how Shelley Jackson’s hypertext work Patchwork Girl (1995) provides a feminist alternative to dominant Frankensteinian mythologies of unethical creation, arguing that it succeeds in doing so by offering alternative approaches to linear and positivist knowledge production. The forthcoming publication of the French translation (Regnauld, Tissut, Vanderhaeghe, to be released) might shed some new light on some other possible solutions. In the second, which I imagine similar in scale to our low-budget project, the result would take a form of a web-app: a solution independent of any system and accessible by any browser. In the first one, the publishing would rely on a series of ports for a variety of competing mobile (and desktop) platforms. ![]() They could move in two different directions. Numerous challenges and difficult decisions await the authors of future editions, translations and ports of afternoon, a story. A reader who gets hold of popołudnie, pewna historia can open it on practically any computer, even an old one, either in a library, a bookshop or at home. By making the Polish version run on most major browsers and on any operating systems we wanted to counterweight the offline only requirement that both publishers, Eastgate and Ha!art, had agreed to. One of them is the shift towards open, accessible and cross-platform publishing projects. ![]() This "translation on the edge", to paraphrase editors of the pioneering journal Writing on the Edge, clearly demonstrates the significant changes that took place between the golden age of hypertext fiction and today's publishing practices. ![]() It occurred when an old "PC" model of digital publishing was giving way to a new one – "Post–PC". Translating afternoon, a story into Polish has been the first full scale effort to migrate this hypertext novel into a new software environment.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |