Everyware, ubiquitous computing, connexion ambiante, condition hyperconnectée, hypersphère,… Dans la dernière décennie, les chercheurs de tous domaines confondus ont convoqué une série de termes très différents pour évoquer les conséquences de l’introduction des dispositifs mobiles ont engendrés sur notre manière de vivre et habiter l’espace. En poursuivant les réflexions entamées par les chercheurs appartenant au « tournant spatial », cette thèse se propose d’interroger l’imaginaire spatial dans la littérature numérique contemporaine tel que modifié par les nouvelles technologies ainsi que les modalités dont la littérature s’est emparé de ces technologies pour les détourner ou les intégrer en tant qu’éléments poétiques à part entière. Quel est le nouveau rapport à l’espace que dessinent le téléphone intelligent, les réseaux sociaux et la géolocalisation ? Comment la littérature se modifie-t-elle en devenant géolocalisée ? Qu’il soit question de l’espace urbain ou d’autres types d’espaces, cette thèse interroge l’intégration d’outils, de pratiques et de techniques numériques à l’écriture littéraire de l’espace. Au moment où la présence d’une technologie de géolocalisation participe également au processus de redéfinition de notre position dans le monde, en redéfinissant notre rapport à la fois personnel et littéraire à l’espace, comment notre position spatiale devient-elle une donnée partageable, conversationnelle et sémiotique – signifiant et matière poétique à part entière, tout autant que le langage ? / Everyware, ubiquitous computing, ambient connection, hyperconnected condition, hypersphere... In the last decade, researchers from all fields have used a series of very different terms to evoke the consequences of the introduction of mobile devices on our way of living and inhabiting space. By continuing the reflections started by the researchers belonging to the "spatial turn", this thesis proposes to question the spatial imaginary in contemporary digital literature as modified by the new technologies as well as the modalities in which literature has seized these technologies to divert them or integrate them as poetic elements in their own right. What is the new relationship to space that the smart phone, social networks and geolocation draw? How does literature change by becoming geolocated? Whether we are talking about urban space or other types of space, this thesis questions the integration of digital tools, practices and techniques into the literary writing of space. At a time when the presence of geolocation technology also participates in the process of redefining our position in the world, redefining our personal and literary relationship to space, how does our spatial position become a shareable, conversational and semiotic datum - a signifier and poetic material in its own right, as much as language?

This diploma thesis explores subjectivity in the domain of so-called digital writing, that is, in texts of largely experimental nature generated by computer algorithms (or with their assistance). In order to do so, the thesis briefly covers the history of digital writing, its mediatic specificities, poetics as well as various theoretical and philosophical conceptualizations. Most importantly, it undertakes an analysis of a post-lyrical subject, a concept devised by Janez Strehovec, that is common to all cases of generative writing under focus. For its comparative analysis, the thesis deals with the recent works from contemporary creators who approach algorithmic textuality from variegated perspectives, incl. Nick Montfort, Allison Parish, Stephanie Strickland, Li Zilles, and Jörg Piringer. Texts generated by programs are conceived of as expressing a new, parasitic and prosthetic, genus of cyber-textual subjectivity that defies the traditional lyric and expands its pool "by other means," as Marjorie Perloff would say. Such a tendency results in conceptually as well as formally complex literary corpus "infected" by - to further exploit the suggested metaphor - parasitic voices and prosthetic selves. Unlike in generic lyric, the post- lyrical subject surpasses the confines of poetry as genre; it is...

Cathrine Phiri's novel ‘Never Mine’ on Facebook, highlights the liberating potential of online literary engagement, particularly for female readers, amid creative restrictions in Zimbabwe. Utilising both the Afrocentric and Communicative Figuration concepts, the study examines how digital ephemeral literature fosters connection and conversation. It delves into audience typologies, alignment with community ideals, complex social structures and cultural behaviour. Methodologically, this study takes on a deductive approach and makes use of the theoretical framework that comprises the Afrocentric model and the Communicative Figuration model. African literary circles have in the past embraced the online medium, making digital literary content highly successful, despite its realised (or otherwise perceived) ephemerality. The digital landscape has not only facilitated connections between African writers and their readers but has also enriched the literary landscape through the proliferation of new literary expressions. The data, collected from Facebook interactions in the form of screenshots from user comments, replies and reactions sheds light onto this phenomenon. Grounded in a synthesis of literary studies and digital media studies, this study shows how audience members are seen to readily engage in conversations that are deemed central to African cultural and social being. Never Mine shows that there is a large audience for online ephemeral literature and that this audience is largely active and dynamic in nature, from the observed user comments and reactions. The behaviour of the African audience is therefore intricately connected to the complex interplay of cultural, digital, and political elements that are unique to the region. Thus, grasping these dynamics is essential to comprehend the distinctive trends in online engagement and information consumption within the African context. Different platforms are therefore seen to connect readers to new writing on the continent – writing that more accurately reflects their own lived realities – and in innovative ways.