Co-presence between texts

Intertextuality. According to Genette's rather restricted definition intertextuality is "a relationship of co-presence between two texts or among several texts."

This includes, as Eskelinen put it, the practices of quotation, allusion and plagiarism. In principle, it is just a matter of recognition. But in these days just because you read it doesn’t mean it is there and vice versa. The invisible, hidden, and inaccessible parts of the text will deny the reader the comfort of knowing for certain what exactly is there in the text. To make matters more complicated it’s not only the dialectic between visible and invisible parts of the text that counts, but also the relations between what’s visible now and what, if anything, will be visible later. Also the threshold between what’s inside and what’s outside the text is getting blurrier, as it’s so easy to supplement and replace the original text from the outside (as certain famous software agents have already shown).

In some ways, all this may lead to the decreasing importance of intertextuality in dynamically ergodic works, or at least to more drastic ways of foregrounding intertextuality. In any case we’d be better prepared to understand the widely varying degrees of co-presence at work.

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Ergodic Literature

The shortcomings of importing theoretical assumptions developed in the context of print into analyses of electronic media were vividly brought to light by Espen J. Aarseth's important book Cybertext: Explorations of Ergodic Literature.

Rather than circumscribe electronic literature within print assumptions, Aarseth swept the board clean by positing a new category of "ergodic literature," texts in which "nontrivial effort is required to allow the reader to traverse the text". Making a different analytical cut through textual groupings that included computer games, print literature and electronic hypertexts, among others, Aarseth established a grid comprised of eight different operators, many of which have purchase mostly with electronic texts rather than print. The grid yields a total of 576 different positions on which a variety of different kinds of texts can be located. Although the method has limitations, notably that it is blind to content and relatively indifferent to the specificity of media, it has the tremendous virtue of demonstrating that electronic texts cannot simply be shoved into the same tent with print without taking into account their different modes of operation. These innovations have justifiably made Cybertext a foundational work for the study of computer games and a seminal text for thinking about electronic literature. Markku Eskelinen's work, particularly "Six Problems in Search of a Solution: The challenge of cybertext theory and ludology to literary theory," further challenges traditional narratology as an adequate model for understanding ergodic textuality, making clear the need to develop frameworks that can adequately take into account the expanded opportunities for textual innovations in digital media.

Proposing variations on Gérard Genette's narratological categories, Eskelinen demonstrates, through a wide variety of ingenious suggestions for narrative possibilities that differ in temporal availability, intertextuality, linking structures, etc., how Aarseth's ergodic typology can be used to expand narratology so it would be more useful for ergodic works in general, including digital works.

By N. Katherine Hayles

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