A bibliography of Literary Theory, Criticism and Philology

Note 34 Rita Raley discussed Torus in the broader context of digital works using haptic and proprioceptive stimuli in "Reading Spaces," Modern Language Association Convention, Washington DC, December 28, 2005.

Note 35 See John Cayley's website www.shadoof.net/in for a download of lens in a QuickTime maquette; the piece was originally designed for the CAVE.

Note 36 Information from Robert Coover in an email dated September 25, 2006.

Note 37 Paul Sermon, Steven Dixon, Mathias Fucs, and Andrea Zapp, Unheimlich (2006) http://creativetechnology.salford.ac.uk/unheimlich/.

Note 38 Michael Mateas, Façade (2005) http://www.interactivestory.net/.

Note 39 Janet Murray, Hamlet on the Holodeck: The Future of Narrative in Cyberspace (Cambridge: MIT Press, 1998), p. 40

Note 40 Marie-Laure Ryan, Avatars of Story (Minneapolis: University of Minnesota Press, 2006).

Note 41 Deena Larsen, Disappearing Rain (2001) http://www.deenalarsen.net/rain/.

Note 42 Electronic Poetry Center http://epc.buffalo.edu/; Ubuweb http://www.ubu.com/.

Note 43 Loss Pequeño Glazier, Digital Poetics: Hypertext, Visual-Kinetic Text and Writing in Programmable Media (Tuscaloosa: University of Alabama, 2001).

Note 44 Loss Pequeño Glazier, White-Faced Bromeliads on 20 Hectares, ELC 1 http://epc.buffalo.edu/authors/glazier/java/costa1/00.html.

Note 45 Generative art is, of course, a major category of digital arts generally. For example, Bill Seaman's ambitious installation work, The World Generator (1996), used images, sound, and spoken text to create a recombinant poetics that created emergent and synergistic combinations of all these modalities http://digitalmedia.risd.edu/billseaman/poeticTexts.php.

Note 46 Philippe Bootz, "The Functional Point of View: New Artistic Forms for Programmed Literary Works," Leonardo 32.4 (1999): 307-16. See also the earlier article "Poetic Machinations," Visible Language 30.2 (1996): 118-37, and the later "Reader/Readers," p0es1s: Ästhetik Digitaler Poesie/The Aesthetics of Digital Poetry, edited by Friedrich W. Block, Christiane Heiback, and Karin Wenz (Berlin: Hatje Cantz Books, 2004), pp. 93-122, which gives a further elaboration and refinement of the functional model. In "Digital Poetry: From Cybertext to Programmed Forms," Leonardo Electronic Almanac 14.05/06 (2006) http://leoalmanac.org/journal/lea_v14_n05-06/pbootz.asp, he slightly shifts terminology to technotexts and intermedia, with a focus on a procedural model of communication.

Note 47 Philippe Bootz discusses the web-based literary journal created by L.A.I.R.E in "Alire: A Relentless Literary Investigation," Electronic Book Review (March 15, 1999) http://www.electronicbookreview.com/thread/wuc/Parisian.

Note 48 Philippe Bootz, La série des U, ELC 1; Alire 12 (2004).

Note 49 Noah Wardrip-Fruin with Brion Moss and Elaine Froehlich, Regime Change and News Reader http://hyperfiction.org/rcnr/.

Note 50 Jim Andrews, On Lionel Kearns, ELC 1 and http://www.vispo.com/kearns/index.htm.

Note 51 William S. Burroughs and his partner in crime, Brion Gysin, wrote extensively about the technique and philosophy of the cut-up that Burroughs pioneered in Naked Lunch, among other works. For more information and algorithms allowing you to cut up your own texts, see http://www.reitzes.com/cutup.html.

Note 52 Jim Andrews and collaborators, Stir Fry Texts http://www.vispo.com/StirFryTexts/.

Note 53 Geniwate and Brian Kim Stefans, When You Reach Kyoto (2002) http://www.idaspoetics.com.au/generative/generative.html.

Note 54 Millie Niss with Martha Deed, Oulipoems, ELC 1 and (2004) http://www.uiowa.edu/~iareview/tirweb/feature/sept04/oulipoems/.

Note 55 Patrick-Henri Burgaud, Jean-Pierre Balpe ou les Lettres Dérangées, ELC 1 (2005).

Note 56 John Cayley has a trenchant criticism of "code work" in "The Code is not the Text (unless it is the Text)," Electronic Book Review (2002) http://www.electronicbookreview.com/thread/electropoetics/literal.

Note 57 For a fuller explanation of intermediating dynamics between language and code, see N. Katherine Hayles, "Making: Language and Code," My Mother Was a Computer: Digital Subjects and Literary Texts (Chicago: University of Chicago Press, 2005), pp. 15-88.

Note 58 Diane Reed Slattery, Daniel J. O'Neil and Bill Brubaker, The Glide Project http://www.academy.rpi.edu/glide/portal.html. Slattery is also the author of The Maze Game (Kingston NY: Deep Listening Publications, 2003), a print novel that gives the backstory of the development, politics, and cultural significance of the Glide language.

Note 59 Sha Xin Wei, TGarden, http://f0.am/tgarden/; see also Sha Xin Wei and Maja Kuzmanovic. "Performing Publicly in Responsive Space: Agora, Piazza, Festival and Street." Worlds in Transition: Technoscience, EASST Conference: Citizenship and Culture In the 21st Century (September 2000), Vienna, Austria http://www.univie.ac.at/Wissenschaftstheorie/conference2000.

Note 60 Carrie Noland, "Digital Gestures," New Media Poetics: Contexts, Technotexts, and Theories, edited by Adalaide Morris and Thomas Swiss (Cambridge: MIT Press, 2006), pp. 217-244.

Note 61 John Cayley, "Literal Art: Neither Lines nor Pixels but Letters," First Person: New Media as Story, Performance, and Game, eds. Noah Wardrip-Fruin and Pat Harrigan (MIT Press, Cambridge, Mass, 2004), pp. 208-17; see also John Cayley, "Literal Art" http://www.electronicbookreview.com/thread/firstperson/programmatology.

Note 62 John Cayley, riverIsland http://www.shadoof.net/in/.

Note 63 Stephanie Strickland, with technical implementation by Janet Holmes (1999), "The Ballad of Sand and Harry Soot" http://www.wordcircuits.com/gallery/sandsoot/frame.html. The poem appeared first in print as the winner of the Boston Review's Second Annual Poetry contest.

Note 64 Jason Nelson, Dreamaphage, version 1 (2003) and version 2 (2004), ELC 1 and http://www.secrettechnology.com/dreamaphage/opening.html.

Note 65 Stephanie Strickland, V: WaveSon.nets/Losing L'una (New York: Penguin, 2002); Stephanie Strickland with Cynthia Lawson, V: Vniverse http://www.vniverse.com/.

Note 66 Lance Olsen, 10:01 (Portland: Chiasmus Press, 2005). Lance Olsen with Tim Guthrie, 10:01, ELC 1.

Note 67 Geoff Ryman, 253: The Print Remix (London: St. Martin's Press, 1998); the Web version is at http://www.ryman-novel.com.

Note 68 Gregory L. Ulmer, Internet Invention: From Literacy to Electracy (New York: Longman, 2002).

Note 69 Alan Sondheim's writings are represented in a collection of texts made over a ten-year period in "Internet Text, 1994 [Through Feb. 2, 2006]," ELC 1; Brian Kim Stefans, Fashionable Noise: On Digital Poetics (Berkeley: Atelos Press, 2003); Stephanie Strickland, "Writing the Virtual: Eleven Dimensions of E-Poetry," Leonardo Electronic Almanac 14:05/06 (2006) http://leoalmanac.org/journal/vol_14/lea_v14_n05-06/sstrickland.asp and "Dali Clocks: Time Dimensions of Hypermedia," Electronic Book Review ll (2000) http://www.altx.com/ebr/ebr11/11str.htm.

Note 70 Ian Bogost, Unit Operations: An Approach to Videogame Criticism (Cambridge: MIT Press, 2006); Wendy Hui Kyong Chun, Control and Freedom: Power and Paranoia in the Age of Fiber Optics (Cambridge: MIT Press, 2006); Florian Cramer, Words Made Flesh: Code, Culture, Imagination (Rotterdam: Piet Zwart Institute) http://pzwart.wdka.hro.nl/mdr/research/fcramer/wordsmadeflesh/); Matthew Fuller, Behind the Blip: Essays on the Culture of Software (New York: Autonomedia, 2003); Mark B. N. Hansen, New Philosophy for New Media (Cambridge: MIT Press,2004); Matthew Kirschenbaum, Mechanisms: New Media and Forensic Textuality (Cambridge: MIT Press, 2006); Adalaide Morris, "New Media Poetics: As We May Think/How to Write," New Media Poetics, edited by Adalaide Morris and Thomas Swiss (Cambridge: MIT Press, 2006), pp. 1-46; Rita Raley, Tactical Media (Minneapolis: University of Minnesota Press, forthcoming 2007).

Note 71 Espen J. Aarseth, Cybertext: Perspectives on Ergodic Literature (Baltimore: The Johns Hopkins University Press, 1997).

Note 72 Stephanie Strickland, "Writing the Virtual: Eleven Dimensions of E-Poetry," Leonardo Electronic Almanac 14:05/06 (2006) http://leoalmanac.org/journal/vol_14/lea_v14_n05-06/sstrickland.asp.

Note 73 Jim Rosenberg, Diagram Series 6: 6.4 and 6.10, ELC 1; see also Diagram Poems http://www.well.com/user/jer/diags.html

Note 74 Raymond Queneau, Cent mille milliards de poèmes (Paris: Gallimard, 1961); John Cage, M: Writings '67-'72 (Middletown: Wesleyan University Press, 1973); Jackson Mac Low, The Virginia Woolf Poems (Providence RI: Burning Deck, 1985).

Note 75 Brian Kim Stefans, Fashionable Noise: On Digital Poetics (Berkeley: Atelos Press, 2003).

Note 76 Ian Bogost, Unit Operations: An Approach to Videogame Criticism (Cambridge: MIT Press, 2006), especially p. 4.

Note 77 Stephanie Strickland and M. D. Coverley, "Errand Upon Which We Came" http://www.thebluemoon.com/coverley/errand/home.htm.

Note 78 Brian Kim Stefans, "The Dreamlife of Letters," (1999) http://www.chbooks.com/archives/online_books/dreamlife_of_letters/.

Note 79 Robert Kendall, "Faith," ELC 1; also Cauldron and Net, 4 (Autumn 2002) http://www.studiocleo.com/cauldron/volume4/confluence/kendall/title_page.htm.

Note 80 Young-hae Chang Heavy Industries, "Dakota" http://www.yhchang.com/DAKOTA.html.

Note 81 Jessica Pressman, Digital Modernism: Making It New in New Media, Ph.D. dissertation (2007: Los Angeles, University of California, Los Angeles).

Note 82 Young-Hae Chang Heavy Industries, "Nippon" http://www.yhchang.com/DAKOTA.html.

Note 83 Jay David Bolter, Writing Space: The Computer, Hypertext, and the History of Writing (New York: Lawrence Erlbaum Associates, 1991); George P. Landow, Hypertext: The Convergence of Contemporary Critical Theory and Technology (Baltimore: The Johns Hopkins University Press, 1991).

Note 84 Aarseth, Cybertext, pp. 77, 89 and passim.

Note 85 Jay David Bolter, Writing Space: The Computer, Hypertext, and the History of Writing, p. 147.

Note 86 Richard Grusin and Jay David Bolter, Remediation: Understanding New Media (Cambridge: MIT Press, 2000).

Note 87 George P. Landow, Hypertext 2.0: The Convergence of Contemporary Critical Theory and Technology (Baltimore: The Johns Hopkins University Press, 1997) and Hypertext 3.0: Critical Theory and New Media in an Era of Globalization (Baltimore: The Johns Hopkins University Press, 2006).

Note 88 Espen J. Aarseth, "Textonomy: A Typology of Textual Communication," Cybertext, pp. 59-75.

Note 89 Espen J. Aarseth has also taken a leading role in establishing game studies as an academic discipline, being one of the founders of the field and of the leading journal in the field, The International Journal of Game Studies.

Note 90 Markku Eskelinen, "Six Problems in Search of a Solution: The challenge of cybertext theory and ludology to literary theory," dichtung-digital (March 2004) http://www.dichtung-digital.com/index.

Note 91 Lev Manovich, The Language of New Media (Cambridge: MIT Press, 2000).

Note 92 Manovich, The Language of New Media, pp. 27-46.

Note 93 For an example, see N. Katherine Hayles, "Traumas of Code," Critical Inquiry 33.1 (Autumn 2006): 136-157.

Note 94 Alexander Galloway, Protocol: How Control Exists after Decentralization (Cambridge: MIT Press, 2004), p. 165.

Note 95 Jerome J. McGann, The Complete Writings and Pictures of Dante Gabriel Rossetti: A Hypermedia Archive http://www.rossettiarchive.org/.

Note 96 Jerome McGann, Radiant Textuality: Literature after the World Wide Web (New York and London: Palgrave Macmillan, 2001).

Note 97 For information on the computerized version of The Ivanhoe Game, see http://www.patacriticism.org/ivanhoe/; for information on the Speculative Computing Laboratory, see http://www.speculativecomputing.org/.

Note 98 See Johanna Drucker, The Ivanhoe Game.

Note 99 Noah Wardrip-Fruin and David Durand, "Cardplay, a New Textual Instrument," Association for Computers and the Humanities and Association for Literary and Linguistic Computing (ACH/ALLC), University of Victoria, Victoria, BC, Canada (June 15-18, 2005) http://mustard.tapor.uvic.ca:8080/cocoon/ach_abstracts/proof/paper_175_durand.pdf; Mark Bernstein, "Card Shark and Thespis: Exotic tools for hypertext narrative," Proceedings of the twelfth ACM conference on Hypertext and Hypermedia, Århus, Denmark ( New York: 2001), pp. 41-50.

Note 100 Mark B. Hansen, New Philosophy for New Media (Cambridge: MIT Press, 2004).

Note 101 Friedrich A. Kittler, Discourse Networks 1800/1900 (Stanford: Stanford University Press, 1992); .Friedrich A. Kittler, Literature Media Information Systems, edited by John Johnston (New York: Routledge, 1997).

Note 102 Friedrich A. Kittler, "Preface," Gramophone, Film, Typewriter (Stanford: Stanford University Press, 1999), p. xxxix.

Note 103 Adalaide Morris, "New Media Poetics: As We May Think/How to Write,." New Media Poetics: Contexts, Technotexts, and Theories, pp.1-46.

Note 104 Alan Liu, The Laws of Cool: Knowledge Work and the Culture of Information (Chicago: University of Chicago Press, 2004).

Note 105 Especially pertinent to their discussion is Gilles Deleuze, "Postscript on Societies of Control," October 59 (Winter 1992): 3-7.

Note 106 Michael Hardt and Antonio Negri, Empire (Cambridge: Harvard University Press, 2001); Multitude: War and Democracy in the Age of Empire (New York: Penguin, 2005).

Note 107 Alexander Galloway and Eugene Thacker, The Exploit (Minneapolis: University of Minnesota Press, forthcoming 2007).

Note 108 Adrian Mackenzie, Cutting Code: Software as Sociality (London: Peter Lang, 2006).

Note 109 Nick Montfort and Noah Wardrip-Fruin, "Acid-Free Bits," Electronic Literature Organization (June 14, 2004) http://eliterature.org/pad/afb.html

Alan Liu, David Durand, Nick Montfort, Merrillee Proffitt, Liam R E. Quin, Jean-Hughes Rety, and Noah Wardrip-Fruin, "Born Again Bits" (September 30, 2004) http://eliterature.org/pad/bab.html.

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JOHN BENJAMINS PUBLISHING COMPANY

www.benjamins.com

Beyond Narrative Coherence
Edited by Matti Hyvärinen, Lars-Christer Hydén, Marja Saarenheimo

and Maria Tamboukou

Beyond Narrative Coherence reconsiders the way we understand and work with narratives. Even though narrators tend to strive for coherence, they also add complexity, challenge canonical scripts, and survey lives by telling highly perplexing and contradictory stories.
Many narratives remain incomplete, ambiguous, and contradictory. Obvious coherence cannot be the sole moral standard, the only perspective of reading, or the criterion for selecting and discarding research material. Beyond Narrative Coherence addresses the limits and aspects of narrative (dis)cohering by off ering a rich theoretical and historical background to the debate. Limits of narrative coherence are discussed from the perspective of three fi elds of life that o en threaten the coherence of narrative: illness,

arts, and traumatic political experience. e authors of the book cover a wide range of disciplines such as psychology, sociology, arts studies, political science and philosophy.

[Studies in Narrative, 11] 2010. vi, 196 pp.
Table of contents

Beyond narrative coherence: An introduction

Matti Hyvärinen, Lars-Christer Hydén, Marja Saarenheimo and Maria Tamboukou
Weird stories: Brain, mind, and self,

Maria I. Medved and Jens Brockmeier

IIdentity, self, narrative,

Lars-Christer Hydén

'Mind-reading', a method for understanding the broken narrative of an aphasic man

Tarja Aaltonen

Broken narratives, visual forces: Letters, paintings and the event

Maria Tamboukou

Artists-in-progress: Narrative Identity of the Self as Another

Linda Sandino

Breaking of self-narrative as a means of reorientation?

Vilma Hänninen and Anja Koski-Jännes

"­ Theere is no fear in my lexicon" vs. "You are not normal if you won't be scared": A qualitative semiotic analysis of the 'broken' discourse of Israeli bus drivers who experienced terror attacks
Alison Stern Perez, Yishai Tobin and Shifra Sagy

Beyond narrative: e shape of traumatic testimony

Molly Andrews
Afterword: 'Even Amidst': Rethinking Narrative Coherence

Mark Freeman

Steve Moxon, "Culture Is Biology: Why We Cannot 'Transcend' Our Genes – or Ourselves"

special evolutionary issue of the online journal Politics and Culture (2010)

http://aspen.conncoll.edu/politicsandculture/index2.cfm

Anja Müller-Wood and John Carter Wood, "How Is Culture Biological? Violence: Real and Imagined"

special evolutionary issue of the online journal Politics and Culture (2010)
http://aspen.conncoll.edu/politicsandculture/index2.cfm

John S. Price, "The Culture of Religious Belief Systems and Changes of Belief System"

special evolutionary issue of the online journal Politics and Culture (2010)
http://aspen.conncoll.edu/politicsandculture/index2.cfm

Peter J. Richerson, "Culture Is an Active Part of Human Biology"

special evolutionary issue of the online journal Politics and Culture (2010)
http://aspen.conncoll.edu/politicsandculture/index2.cfm

Robert Karl Stonjek, "A Brief but Plausible History of Culture"

special evolutionary issue of the online journal Politics and Culture (2010)
http://aspen.conncoll.edu/politicsandculture/index2.cfm

1. Wallace, A.F.C. 1956. Mazeway resynthesis: a biocultural theory of religious inspiration. Transactions of the New York Academy of Sciences 18:626-638.