Electronic literature in the context of "Literature"

⭐ In the context of Literature, electronic literature is most accurately considered…

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⭐ Core Definition: Electronic literature

Electronic literature or digital literature is a genre of literature where digital capabilities such as interactivity, multimodality or algorithmic text generation are used aesthetically. Works of electronic literature are usually intended to be read on digital devices, such as computers, tablets, and mobile phones. They cannot be easily printed, or cannot be printed at all, because elements crucial to the work cannot be carried over onto a printed version.

The first literary works for computers, created in the 1950s, were computer programs that generated poems or stories, now called generative literature. In the 1960s experimental poets began to explore the new digital medium, and the first early text-based games were created. Interactive fiction became a popular genre in the late 1970s and 1980s, with a thriving online community in the 2000s. In the 1980s and 1990s hypertext fiction begun to be published, first on floppy disks and later on the web. Hypertext fictions are stories where the reader moves from page to page by selecting links. In the 2000s digital poetry became popular, often including animated text, images and interactivity. In the 2010s and 2020s, electronic literature uses social media platforms, with new genres like Instapoetry or Twitterature as well as literary practices like netprov. Although web-based genres like creepypasta and fan fiction are not always thought of as electronic literature (because they usually manifest as linear texts that could be printed out and read on paper), other scholars argue that these are born digital genres that depend on online communities and thus should be included in the field.

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👉 Electronic literature in the context of Literature

Literature is any collection of written work, but it is also used more narrowly for writings specifically considered to be an art form, especially novels, plays, and poems. It includes both print and digital writing. In recent centuries, the definition has expanded to include oral literature, much of which has been transcribed. Literature is a method of recording, preserving, and transmitting knowledge and entertainment. It can also have a social, psychological, spiritual, or political role.

Literary criticism is one of the oldest academic disciplines, and is concerned with the literary merit or intellectual significance of specific texts. The study of books and other texts as artifacts or traditions is instead encompassed by textual criticism or the history of the book. "Literature", as an art form, is sometimes used synonymously with literary fiction, fiction written with the goal of artistic merit, but can also include works in various non-fiction genres, such as biography, diaries, memoirs, letters, and essays. Within this broader definition, literature includes non-fictional books, articles, or other written information on a particular subject.

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Electronic literature in the context of Generative literature

Generative literature is poetry or fiction that is automatically generated, often using computers. It is a genre of electronic literature, and also related to generative art.

John Clark's Latin Verse Machine (1830–1843) is probably the first example of mechanised generative literature, while Christopher Strachey's love letter generator (1952) is the first digital example. With the large language models (LLMs) of the 2020s, generative literature is becoming increasingly common.

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Electronic literature in the context of Hypertext fiction

Hypertext fiction is a genre of electronic literature characterized by the use of hypertext links that provide a new context for non-linearity in literature and reader interaction. The reader typically chooses links to move from one node of text to the next, and in this fashion arranges a story from a deeper pool of potential stories. Its spirit can also be seen in interactive fiction.

The term can also be used to describe traditionally published books in which a nonlinear narrative and interactive narrative is achieved through internal references. James Joyce's Ulysses (1922), Enrique Jardiel Poncela's La Tournée de Dios (1932), Jorge Luis Borges' The Garden of Forking Paths (1941), Vladimir Nabokov's Pale Fire (1962), Julio Cortázar's Rayuela (1963; translated as Hopscotch), and Italo Calvino's The Castle of Crossed Destinies (1973) are early examples predating the word "hypertext", while a common pop-culture example is the Choose Your Own Adventure series in young adult fiction and other similar gamebooks, or Jason Shiga's Meanwhile, a graphic novel that allows readers to choose from a total of 3,856 possible linear narratives.

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Electronic literature in the context of Digital poetry

Digital poetry is a form of electronic literature, displaying a wide range of approaches to poetry, with a prominent and crucial use of computers. Digital poetry can be available in form of CD-ROM, DVD, as installations in art galleries, in certain cases also recorded as digital video or films, as digital holograms, on the World Wide Web or Internet, and as mobile phone apps.

According to Saum-Pascual (2019), digital poetry is the artistic heir to the avant-garde movements of the second half of the 20th century, including Lettrism, concrete poetry, and conceptual poetry.

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Electronic literature in the context of Netprov

Netprov is "networked, improvised literature" or collaborative literary improvisations performed on the internet. The word netprov is a portmanteau of "networked" and "improv" as in improvisational theatre. Netprov is considered a genre of electronic literature.

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Electronic literature in the context of Nonlinear narrative

Nonlinear narrative, disjointed narrative, or disrupted narrative is a narrative technique where events are portrayed, for example, out of chronological order or in other ways where the narrative does not follow the direct causality pattern of the events featured, such as parallel distinctive plot lines, dream immersions or narrating another story inside the main plot-line. The technique is common in electronic literature, and particularly in hypertext fiction, and is also well-established in print and other sequential media.

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