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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What is remediation in hypertextuality?

Bolter argues that digital hypertext is the remediation of the printed book.

Published between the first and second editions of Writing Space, Remediation: Understanding New Media (coauthored by Richard Grusin, MIT Press, 1999) focuses on the relationship between visual digital expressions (such as computer games and the World Wide Web) and earlier media forms (such as film and television). Bolter argues that digital forms both borrow from and seeks to surpass earlier forms, and he gives this process the name “remediation.”

With Blair MacIntyre, Maribeth Gandy, and Petra Schweitzer, bolter is also reexamining Benjamin's concept of aura. He wants to see how aura (or the decay of aura) manifests itself in new media forms, such as augmented and mixed reality. His current paper is entitled: “New Media and the Permanent Crisis of Aura.”

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Materialities of text

In this post I will focus primarily on a particular feature of literary works -- their physical character, whether audial or visible.

I shall be pointing out why these features are important in a literary point of view and also sketching certain practical means for elucidating these textual features. This last matter -- the central subject of this post -- is also the most difficult. The methodology I shall be discussing requires the scholar to learn to use a new set of scholarly tools.

One final introductory comment. My remarks here apply only to textual works that are instruments of scientific knowledge. The poet's view of text is necessarily very different. To the imagination the materialities of text (oral, written, printed, electronic) are incarnational not vehicular forms. But for the scientist and scholar, the media of expression are primarily conceptual utilities, means rather than ends; to the degree that an expressive form hinders the conceptual goal (whether it be theoretical or practical), to that extent one will seek to evade or supercede it -- perhaps even, in critical times, to develop new intellectual devices. But good poets do not really quarrel with their tools.

As William Morris famously observed, "You can't have art without resistance in the materials".

Download ebooks on http://www.frenchtheory.com/ - See that post with different algorithms in metabole - See the journal French Metablog with today different posts - Jean-Philippe Pastor

Why images on the screen of the hypertext?

Visual culture is on the rise, so we've decided to give our own spin to the old adage that a picture is worth a thousand words, and turn it on its head. Here's how our version works: we pick one image, use it as keywords for a web-based image search, and present the results here with words.

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