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This thesis takes into consideration the presence of computers and electronic equipment in French literary and multimedia discussions, beginning in the first chapter with the foundation of the Oulipo group in 1960 and taking as a starting point the group's conceptions of the computer in relation to literature. It proceeds in the second chapter to explore the materialities and physical factors that have informed the evolution of ideas related to the composition and reading of digital texts, so as to illuminate some of the differences that may be purported to exist between e-literatures and traditional print works. Drawing on Roland Barthes' 'Between Work and Text,' the chapters gradually progress into an exploration of spatiality in digital and interactive literatures, taking into account the role of exhibitions in accommodating and diffusing these forms in France, notably the 1985 exhibition 'Les Immatériaux,' to whose writing installations the third chapter is dedicated. The first three chapters thus focus on computer assisted reading and writing prior to 1985. The chapters that form the second half of the thesis deal with more recent years, exploring online and mobile application works, reading these as engendering their own distinct physical spaces that extend beyond the 'site' of the work - both the website or display and the tactile materials on which the work is operated - creating in relation to the reading what Roberto Simanowski terms a 'semiotic body'. The fourth chapter takes into consideration the role of the reader's body in Annie Abrahams' 'Séparation' and Xavier Malbreil's 'Livre des Morts'. The fifth chapter explores gesture as a mode of reading and reinscription in the online, interactive works of Serge Bouchardon. Finally, the sixth chapter looks at mobile application narratives, spampoetry and email art, offering ways of reading the new spatialities these forms generate. The work as a whole aims to offer some perspectives for considering digital literatures as capable of creating complex spatial experiences between work and text.

This thesis is an account of my three sites-in-endotics, each project resulting in a participatory artwork: Thaw (2012), Northern Venetians (2013) and The Recollective (2015). I base these projects upon the writings of Georges Perec (1936-82). Perec saw endotics as a form of quotidian studies characterised by an internal perspective: everyday situations should be described from the vantage point of those already immersed in them, not from the position of an outsider. Hence the participatory character of these works. Through these projects, the participants explore their spatial practices as they engage in a collective writing. In this thesis I write my own spatial practice, describing my construction of the frameworks that enable the participants to tell their stories. My methodology outlines the theoretical and practical approaches I adopt, and explains my reasons for doing so. My literature review contextualises them. My case studies offer a reflective account of my practice based research. I conclude by returning to the potential usefulness of an endotic approach. Research Questions What are the ways in which I can use Perec’s endotic writings to construct a participatory art practice exploring everyday situations? Can we talk of participants as being the meaningful co-authors of an artwork? How do multilayered narratives portray the participants’ spatial practices?

This thesis considers how the digital medium and social networks affect the short story. I argue that digital short fiction has shown changes, such as signs of becoming more modular or briefer than its print counterparts, and that it has also reflected a shift to the personal or semi-autobiographical story. Digital short fiction has also been used increasingly to market a publisher’s or author’s name or non-digital works. I begin contextualizing this shift in Chapter 1 by analyzing different approaches to the study of the short story, including an overview of generic and historical scholarship, and I conclude with a working definition of the short story. In Chapter 2, I analyze early digital short fiction along with the themes of contemporary fiction in general that have been affected by digital media, social networks, and other changes. I also consider digital short fiction in the context of its publication media, postmodernism, and changes in communication in general. In Chapter 3, I verify these considerations with responses to questionnaires sent to writers of short fiction both on the Web and off. By studying these writers’ conceptions of the short story, preferred publication media, and writing habits, I build on the working definitions of the short story from Chapters 1 and 2. In Chapter 4, I consider the effects on the short story and conclude that we can update print-based conceptions of the short story to include born-digital short fiction and accommodate the contemporary shift in general to modularity, open source, social networks, and the focus on the self. Rather than establishing a concrete definition of what short fiction is at this time, I conclude that a better approach is to replace pre-defined categories with an acknowledgement that the short story is perhaps shifting closer to pre-print storytelling roots, although within the confines of current limitations such as copyright and the attention span of contemporary readers. Although we cannot fully quantify these changes at this time, I argue that they impact the short story and require scholars to consider its paratexts and publication media differently than in pre-Web years.

This thesis considers how the digital medium and social networks affect the short story. I argue that digital short fiction has shown changes, such as signs of becoming more modular or briefer than its print counterparts, and that it has also reflected a shift to the personal or semi-autobiographical story. Digital short fiction has also been used increasingly to market a publisher’s or author’s name or non-digital works. I begin contextualizing this shift in Chapter 1 by analyzing different approaches to the study of the short story, including an overview of generic and historical scholarship, and I conclude with a working definition of the short story. In Chapter 2, I analyze early digital short fiction along with the themes of contemporary fiction in general that have been affected by digital media, social networks, and other changes. I also consider digital short fiction in the context of its publication media, postmodernism, and changes in communication in general. In Chapter 3, I verify these considerations with responses to questionnaires sent to writers of short fiction both on the Web and off. By studying these writers’ conceptions of the short story, preferred publication media, and writing habits, I build on the working definitions of the short story from Chapters 1 and 2. In Chapter 4, I consider the effects on the short story and conclude that we can update print-based conceptions of the short story to include born-digital short fiction and accommodate the contemporary shift in general to modularity, open source, social networks, and the focus on the self. Rather than establishing a concrete definition of what short fiction is at this time, I conclude that a better approach is to replace pre-defined categories with an acknowledgement that the short story is perhaps shifting closer to pre-print storytelling roots, although within the confines of current limitations such as copyright and the attention span of contemporary readers. Although we cannot fully quantify these changes at this time, I argue that they impact the short story and require scholars to consider its paratexts and publication media differently than in pre-Web years.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-05-17T11:13:28Z No. of bitstreams: 1 marianamendesflores.pdf: 2934922 bytes, checksum: abe266bae81b2d918954bb0c4199d4d3 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-06-28T13:14:35Z (GMT) No. of bitstreams: 1 marianamendesflores.pdf: 2934922 bytes, checksum: abe266bae81b2d918954bb0c4199d4d3 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-06-28T13:26:34Z (GMT) No. of bitstreams: 1 marianamendesflores.pdf: 2934922 bytes, checksum: abe266bae81b2d918954bb0c4199d4d3 (MD5) / Made available in DSpace on 2016-06-28T13:26:34Z (GMT). No. of bitstreams: 1 marianamendesflores.pdf: 2934922 bytes, checksum: abe266bae81b2d918954bb0c4199d4d3 (MD5) Previous issue date: 2015-09-01 / A principal intenção deste trabalho é analisar narrativas eletrônicas que se valem do recurso audiovisual em suas composições. Para tanto, tomamos como corpus analítico duas produções: Cityfish, da escritora canadense J.R. Carpenter e Book of Roofs, da artista multimidiática brasileira Josely Carvalho. Ademais, discutimos a noção de autonomia do usuário enquanto leitor e também na posição de autoria, uma vez que ao criador de uma narrativa eletrônica é facultado o uso de diversos recursos além da linguagem verbal, o que expande o leque de possibilidades discursivas. Observamos que no corpus analisado, os vídeos são produzidos de maneira distinta: No caso de Carpenter, a autora utiliza dioramas e imagens captadas nos próprios locais reais visitados pela protagonista Lynne. Na narrativa de Carvalho, por sua vez, os recursos imagéticos são gerados por computação gráfica, tornando possível que uma produção audiovisual seja o suporte da narrativa. Por fim, relacionaremos os conceitos de entre-lugar, ser diaspórico e multiterritorialidade às analises das narrativas, dado que os indivíduos representados podem ser categorizados como “ex-cêntricos” e migrantes, uma vez que transitam pelo espaço, experimentando os prazeres e os dissabores de estarem livres e em movimento. O referencial teórico evidencia pensamentos de Michel Foucault, Roland Barthes, George Landow, Pierre Levý, Manuel Castells, Espen Aarseth, Júlio Plaza, Nestor Canclini, Lúcia Santaella, Stuart Hall, Linda Hutcheon, Homi K. Bhabha, entre outros. / The aim of this study is to analyze electronic narratives which use the audiovisual resource in their structure. Therefore, we take advange as an analytical corpus two literary productions: Cityfish, by the Canadian writer J.R. Carpenter and Book of Roofs, by the Brazilian multimedia artist Josely Carvalho. In this work we discuss the concept of autonomy of the user as a reader and also in the authorship position. The creator of an electronic narrative is allowed to benefit from many resources beyond verbal language, which expands the range of discursive possibilities. We observed that in the analyzed productions, videos are produced differently: In the case of Carpenter, the author explores dioramas and images captured in real places which are visited by the protagonist Lynne. In Carvalho's narrative, in turn, the imagery resources are generated by computer graphics, making it possible for an audiovisual production work as the media support of the narrative. Finally, the concepts of in-between, diasporic people and multiterritoriality are related to the analysis of the electronic narratives, as the represented individuals and some characters might be categorized as "ex-centric" and migrants, because they walk and live in many environments, experiencing the pleasures and disappointments to be free and moving. The theoretical corpus is based on George Landow, Pierre Levý, Manuel Castells, Espen Aarseth, Michel Foucault, Julio Plaza, Nestor Canclini, Lucia Santaella, Stuart Hall, Linda Hutcheon, Homi K. Bhabha, and others.

Made available in DSpace on 2016-04-29T14:23:14Z (GMT). No. of bitstreams: 1 Helem Alves Viana.pdf: 5321396 bytes, checksum: 655aa57bbccbdd32b448cbcab8caaa12 (MD5) Previous issue date: 2012-10-29 / Fundação de Amparo a Pesquisa do Estado de São Paulo / Storms to human thought produced by the magic of Gutenberg cause, especially in our days, fascinating questions about the fate of writing, books and media in which we keep our ideas and memories. This study investigates the experience of reading and textual production nowadays. It discusses literature, the book and its transformations in the face of new technologies, bringing the experience of creation of the digital multimedia book Lazarus in the land of endlessness, done on the iPad, inspired by the works Memories Lazarus by Adonias Filho and The violent Land of Jorge Amado - as well as the concept of Commonplace book. Based on the Six Memos for the Next Millennium by Italo Calvino and on the thoughts of Katherine Hayles and Sergio Basbaum, sets up a dialogue about literature today; the analogic book and digital book are discussed from theoreticians as George Steiner, Vilem Flusser, Marshall McLuhan and Robert Darnton, paying special attention to literary criticism. Finally, given the wealth of technological innovations, the ubiquity of digital mediation and the possibilities opened by this revolution, the dissertation ends with the evolution and refinement of the original question, regarding the use of new technologies in the teaching of literature, since the contemporary context does not allow conclusive determinations, emphasizing the importance of Internet access and to new technological tools - given the possibilities for the future of the book and the place of reading in the twenty-first century / As tempestades para o pensamento humano produzidas pela magia de Gutenberg provocam, sobretudo em nossos dias, fascinantes perguntas sobre o destino da escrita, do livro e dos suportes nos quais guardamos nossas ideias e memórias. Este estudo investiga a experiência da leitura e a produção textual na contemporaneidade. Discute-se a literatura, o livro e suas transformações frente às novas tecnologias, apresentando a experiência de criação do livro digital multimídia Lazarus in the land of endlessness, feito no iPad, inspirado nas obras Memórias de Lázaro, de Adonias Filho, e Terras do Sem Fim, de Jorge Amado -- bem como no conceito de Commonplace book. Com base nas seis propostas de Italo Calvino e nos pensamentos de Katherine Hayles e Sérgio Basbaum, estabelece-se um diálogo sobre literatura nos dias de hoje; o livro analógico e o livro digital são discutidos a partir de teóricos como George Steiner, Vilém Flusser, Marshall McLuhan e Robert Darnton, dando especial atenção à crítica literária. Finalmente, diante da riqueza das novidades tecnológicas, da onipresença da mediação digital e das possibilidades abertas por essa revolução, a dissertação termina com a evolução e refinamento da pergunta inicial, quanto ao uso das novas tecnologias no ensino da literatura, já que o contexto contemporâneo não permite determinações conclusivas, enfatizando-se a importância do acesso à internet e às novas ferramentas tecnológicas-- dadas as possibilidades referentes ao futuro do livro e ao lugar da leitura no século XXI

Victory Garden, Stuart Moulthrop’s 1991 classic hyperfiction, presents a nonlinear story of U. S. home front involvement in the First Gulf War in a way that facilitates confusion and mimics a "fog of war" sort of (un)awareness. Using Storyspace to build his complex narrative, Moulthrop incorporates poetry, fiction, historical references, and low-tech graphic novel type elements. Among the graphic components are all-black and all-white screens that function as variables. Overtly, these screens speak of closure and signify unconsciousness; however, their nonverbal role may also be linked to the ineffability trope as used by Dante Alighieri and re-interpreted by contemporary linguist Ruiging Liang. To date, critics and meta-readers have incorrectly assumed that the protagonist, Emily Runbird, becomes a fatality. By failing to read her life or death as undecidable, we deny the fiction its full power as a postmodern interpretive dilemma. This assumption plays into what might be posited as Moulthrop’s real thesis: syllogism in a corrupted (war time) information system is potentially tragic. A summary of theories and critical approaches relevant to the blank screen’s use as interstice together with sample engagements with relevant texts—reading Victory Garden, as per Wolfgang Iser’s phenomenological approach, Stanley Fish’s reader response theory, and Jacques Derrida’s deconstruction—prove Victory Garden, to be a challenging but consistent literary breakdown (staged malfunction of reading habits). Ultimately, ineffability is shown to be a reading strategy and the action Aristotle characterizes as key to the definition of tragedy is seen as performed by the reader. Moulthrop dangles the question about Emily’s demise as a critical reading moment prone to corruption. The classical anagnorisis is not Emily’s; the revelation Moulthrop intends is reserved for the reader and is precipitated by the need to resolve aporia.

Den här uppsatsen är ett försök till att analysera ny digital och digitaliserad litteratur med hjälp utav medieteorier och intervjuer med lokala aktörer i det litterära produktionsfältet, först och främst förläggare. Jag har två mål med min avhandling: att ge en överblick över hur dagens digitala landskap ser ut och hur vi, både som kulturkonsumenter och -producenter kan förhålla oss till dessa nya medier när de är så pass abstrakta som de är idag. / The main focus of this essay is an attempt to analyze the modern form of digital and digitized literature through media-theories and interviews with local actors from different parts of the literary production, mainly publishers. My thesis consists of two focus points; to give an overview of the new electronic literary landscape and how we, as both cultural consumers and -producers, can approach these new forms of digital, and digitized literature when the terms used to define them are as abstract as they are.

“Between Floors: The Ups and Downs of Mediated Narrative” and the accompanying creative remediation project, “Between Floors: Love and Other Blood Related Diseases,” meld theory and practice of print with electronic literature and installation art. I argue that as the medium changes, the narrative is transformed. The narrative can be reconstructed and pieced together as the reader or viewer becomes increasingly involved, even embodied within the work. This embodiment is what Nathaniel Stern calls “Moving and thinking and feeling” (1) and can result in a more direct emotional experience. The form, structure, and medium (sjužet) rely on authorial intention, yet as a narrative becomes more interactive and experiential the feedback loop shifts, placing meaning, message, and construction of narrative (fabula) between media and reader/viewer. This necessarily complicates the notion of authorship, yet within an embodied space, such as the installations included in this analysis, there is a potential for greater emotional understanding between author/artist and reader/viewer. In the print story “Between Floors: Love and Other Blood Related Diseases,” the protagonist, June, visits her father in a hospital after a tragedy and ends up spending the rest of her life there. The metaphor of an elevator throughout the print, electronic, and installation versions furthers the trapped, claustrophobic feeling of the narrative as well as the ups and downs of relationships and grief. Pieces of the narrative remain recognizable through the electronic literature and installation, yet as the reader/viewer is increasingly immersed in the narrative, it becomes his or her own—a more subjective and overwhelming emotional experience. The elevator metaphor extends through the analysis—an emblem of traditional linear narratives and the narrative arc and technological immersion. The analysis explores theories of language, medium, authorship, nonlinearity, interactivity, and embodiment through existing narrative, new media, and installation theorists such as Peter Brooks, Marshall McLuhan, and Nathaniel Stern. This dissertation and to an extent, experiment, uses theory and practice to illuminate narrative using a recombination of existing theory and an original remediation in three distinct forms, to further the understanding of the nature of narratives, media, authors, and readers, while blurring boundaries between disciplines.