Stories and Storytelling in the Digital Age
Publication Year: 2011
Published by: University of Nebraska Press
Series: Frontiers of Narrative
List of Illustrations
List of Tables
In recent years developments in digital technology have played a significant role in the transformation of narrative theory and practice. Stories that exploit the capacity of digital media (that is, those that necessitate the computer for their production and display) have provided vital new territory against...
Part 1: New Foundations
1 From Synesthesia to Multimedia
The title of Marku Eskelinen’s controversial essay in the Electronic Book Review, “Cybertext Theory: What an English Professor Should Know before Trying,” tells us a great deal about the problems of talking about new media narrative...
2 The Interactive Onion
Of all the properties of new media, interactivity is widely recognized as the one that marks the most significant difference from old media— think of movies versus computer games, drama versus Internet chat, and print novels versus...
3 Ontological Boundaries and Methodological Leaps
This essay sets out an ontologically centered approach to Storyspace hypertext fiction by applying Ryan’s (1991) model of Possible Worlds Theory to two canonical texts. It begins by showing how different waves of hypertext theory have sought...
4 Seeing through the Blue Nowhere
By now we have a reasonably long history of considering the questions of what we mean by transparency in narrative, and how, if it is, is it threatened (or perchance enhanced) by new media forms. Almost a year before Shelley Jackson proclaimed...
Part 2 New Architectures
Interactive fiction is a venerable, well-defined category of computer programs that includes the canonical Adventure and Zork as well as work by established literary authors:Mindwheel by Robert Pinsky, The Hitchhiker’s Guide to the Galaxy by...
6 Digitized Corpora as Theory-Building Resource
Whereas previous work at the intersection of media studies and narrative theory has explored the impact of the digital media on processes of storytelling and on the interpretation (or experience) of storyworlds,1 our chapter outlines a different approach...
7 From (W)reader to Breather
The aim of this chapter is to investigate and exemplify a recent phenomenon in the practice of digital narrative, which engages creatively with the interplay between intentionality and corporeality in the reading process. Drawing on Espen Aarseth’s...
8 Songlines in the Streets
To understand the place of new narrative technologies, it is necessary to separate the stories we tell within digital spaces from those we tell about them. In The Digital Sublime, Vincent Mosco examines numerous myths surrounding cyberspace...
9 Narrative Supplements
The so-called dvd revolution is said to have brought about substantial change in fi lms, change that also impinges directly on narrative. According to Barlow, the dvd is now “fundamentally changing the way we interact with movies,” has taken fi lms outside of “time” and into “boxes,” and has created a new...
Part 3 New Practices
10 All Together Now
Printed books are almost always products of collaboration, not necessarily in the sense of multiple authors writing together but in the less-considered sense of multiple people working together to produce an edited, designed, bound, printed...
11 “Update Soon!”
Fanfiction may be defi ned as prose fiction of any length, style, genre, and narrative technique, produced by fans of a wide range of cultural products including tv shows, movies, video games, Japanese manga, and “classic” literature. This kind of “imaginative expansion” (Brewer 2005, 2) is said to have been with us since...
12 Blogging on the Body
Blogs (also known as web logs) are frequently modified web pages in which the dated entries appear in reverse chronological order, so that the reader views the most recently written entries first. Blogs emerged as a web genre in the late 1990s...
13 Using the Force
Even though Star Wars did not become a video game until 1983, we contend that it was a richly playable experience from its very fi rst exposure to the public. The popular assumption of the Star Wars canon as one primarily seeded by a series...
14 Digital Narratives, Cultural Inclusion, and EducationalPossibility
I am reading a revised version of Goldilocks and the Three Bears as an underwater tale, written by a little girl in grade 2 (age seven to eight) who has clearly borrowed heavily from Disney’s animated movie rendering of The Little Mermaid to create this context...
Page Count: 296
Illustrations: 25 illustrations, 5 tables
Publication Year: 2011
Series Title: Frontiers of Narrative
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