Language power : tutorials for writers

Can computer games be great literature? Do the rapidly evolving and culturally expanding genres of digital literature mean that the narrative mode of discourse -- novels, films, television series -- is losing its dominant position in our culture? Is it necessary to define a new aesthetics of cyborg textuality? In Cybertext, Espen Aarseth explores the aesthetics and textual dynamics of digital literature and its diverse genres, including hypertext fiction, computer games, computer-generated poetry and prose, and collaborative Internet texts such as MUDs. Instead of insisting on the uniqueness and newness of electronic writing and interactive fiction, however, Aarseth situates these literary forms within the tradition of "ergodic" literature--a term borrowed from physics to describe open, dynamic texts such as the I Ching or Apollinaire's calligrams, with which the reader must perform specific actions to generate a literary sequence. Constructing a theoretical model that describes how new electronic forms build on this tradition, Aarseth bridges the widely assumed divide between paper texts and electronic texts. He then uses the perspective of ergodic aesthetics to reexamine literary theories of narrative, semiotics, and rhetoric and to explore the implications of applying these theories to materials for which they were not intended. "In many respects, this is the book I and many others have been waiting for. I have not seen any work so comprehensive in its synthesis of previous commentary. Aarseth's brilliant observations remind me of McLuhan's 'probes'--highly condensed, provocative statements meant to generate controversy and insight. This is clearly the best study ofelectronic texts I have yet read."--Stuart Moulthrop, University of Baltimore, author of Victory Garden From computer games to hypertext fiction, Aarseth explores the aesthetics and textual dynamics of digital literature Can computer games be great literature? Do the rapidly evolving and culturally expanding genres of digital literature mean that the narrative mode of discoursenovels, films, television seriesis losing its dominant position in our culture? Is it necessary to define a new aesthetics of cyborg textuality? In Cybertext , Espen Aarseth explores the aesthetics and textual dynamics of digital literature and its diverse genres, including hypertext fiction, computer games, computer-generated poetry and prose, and collaborative Internet texts such as MUDs. Instead of insisting on the uniqueness and newness of electronic writing and interactive fiction, however, Aarseth situates these literary forms within the tradition of "ergodic" literaturea term borrowed from physics to describe open, dynamic texts such as the I Ching or Apollinaire's calligrams, with which the reader must perform specific actions to generate a literary sequence. Constructing a theoretical model that describes how new electronic forms build on this tradition, Aarseth bridges the widely assumed divide between paper texts and electronic texts. He then uses the perspective of ergodic aesthetics to reexamine literary theories of narrative, semiotics, and rhetoric and to explore the implications of applying these theories to materials for which they were not intended. Publisher description: Can computer games be great literature? Do the rapidly evolving and culturally expanding genres of digital literature mean that the narrative mode of discourse--novels, films, television series--is losing its dominant position in our culture? Is it necessary to define a new aesthetics of cyborg textuality? In Cybertext, Espen Aarseth explores the aesthetics and textual dynamics of digital literature and its diverse genres, including hypertext fiction, computer games, computer-generated poetry and prose, and collaborative Internet texts such as MUDs. Instead of insisting on the uniqueness and newness of electronic writing and interactive fiction, however, Aarseth situates these literary forms within the tradition of "ergodic" literature--a term borrowed from physics to describe open, dynamic texts such as the I Ching or Apollinaire's calligrams, with which the reader must perform specific actions to generate a literary sequence. Constructing a theoretical model that describes how new electronic forms build on this tradition, Aarseth bridges the widely assumed divide between paper texts and electronic texts. He then uses the perspective of ergodic aesthetics to reexamine literary theories of narrative, semiotics, and rhetoric and to explore the implications of applying these theories to materials for which they were not intended Ergodic Literature -- Paradigms And Perspectives -- Textonomy: A Typology Of Textual Communication -- No Sense Of An Ending: Hypertext Aesthetics -- Intrigue And Discourse In The Adventure Fame -- The Cyborg Author: Problems Of Automated Poetics -- Songs From The Mud: Multiuser Discourse -- Ruling The Reader: The Politics Of Interaction -- The Ideology Of Influence. Espen J. Aarseth. Includes Bibliographical References (p. 185-195) And Index.