Cover

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Title Page, Copyright Page

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pp. i-ii

Acknowledgments

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p. iv

Table of Contents

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pp. v-vii

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Preface

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pp. ix-xiv

Crossed Regards, one English title explored for this collection, was accurate enough but awkward. Philippe Bootz gathered these essays under the French title regards croisés, which nicely emphasizes a crossing and intersection of perspectives or...

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Editorial

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pp. xv-xix

One can generally claim that digital literature(s) has an international dimension. But does this mean that digital literature(s) would escape the cultural readings resulting from regional traditions? Or that the creative practices...

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Narrative Motors

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pp. 1-10

When we experience narrations created in a digital environment, we generally find a clear trend in which writers consider the computer as a mere tool and not as a medium. Thinking about the computer as little more than a rather sophisticated...

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The Unsatisfied Reading

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pp. 11-25

Any aesthetic revolves around the two poles of sensibility and reason.18 Although digital literary works seem to repress sensibility and lyricism in many cases, some of them foreground a disjunction between these two, making them complementary and...

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“Agents Provocateurs” : Codework Interventions on the Listservs

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pp. 26-40

If the limits of digital literatures have not yet been defined, then we know—at least since Lev Manovich articulated an “informational aesthetics”—how to approach textualities elaborated by and for the digital medium.44 A Mcluhanite criticism of media (medium equals...

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Speak, “Memory” : Simulation and Satire in Reagan Library

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pp. 41-62

This paper presents a close reading of Stuart Moulthrop’s Reagan Library (http://iat.ubalt.edu/moulthrop/hypertexts/ rl/, accessed on 03/30/2010), focusing on two topics: mnemonic simulation and surrealistic satirization. These are closely related, in...

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Digital Poetry Beyond the Metaphysics of “Projective Saying”

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pp. 63-83

In postmodern culture, the visual was privileged both as the key paradigm of the contemporary perceptual field and as a crucial criterion for producing the mainstream cultural contents. By privileging the visual, this culture pushed aside the verbal and the tactual as...

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How to Read Words in Digital Literature

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pp. 84-92

In Brazil, as is certainly the case in other countries, one cannot speak about digital literary creation without speaking of concrete poetry or Concretism. Nevertheless, let us not forget the process-poem, one of the Brazilian experimental poetry currents of the sixties, which...

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Textual Material in the Digital Medium

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pp. 93-106

Text is a “pleasure object.” Denys d’Halicarnasse, the first person to theorize about sentences, postulated a diffuse value that is spread on the accumulation of words and their articulation (i.e., rhythmic value, respiratory value). The “content” of a text is actually...

Works Cited

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pp. 107-113

Contributors

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pp. 114-115

Notes

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pp. 116-128