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[…]them in historical literary contexts, comparing them to conventional literary genres, to focus groups, working with studying male gamers in their own voices. And a thing that I’m very excited about is experimental research, where we’re actually working with creative writers and digital artists and exploring the potentialities of these new forms for storytelling, seeing how they affect us, how they affect our consciousness, our sensory apparatus, our experiences of narrative, our affect in different ways. So really ranging from qualitative survey-based research to documentary research, database-driven research, visualization, to that kind of creative experimental research. Jill: One of the […]
[…]possible in print, how it’s better. And if in some cases it’s not better. That’s where the critical component, critical communities, the two Cs, that’s what one gets with EBR when it’s working. SR: Yeah, and I do think that it’s been one of these places that really did expand the reach and the community of electronic literature. So for example, I know people like Steve Tomasula, an experimental novelist, or Lance Olsen. I see their work, they our work. We sort of have this experimental tradition in print literature, interacting with this experimental tradition in digital literature. So I […]
[…]is responsible for the advancement of feminism, anticapitalism, posthumanism, postcolonialism and critical race studies.” No. Literature is an art project, not a political project, and should be judged solely on its artistic merit, not for its usefulness in pursuing social justice. Last year a Jane Austen specialist wondered about teaching older novels that fail “to speak to pressing societal issues. Perhaps a world in grave crisis truly doesn’t have time for texts from the past which can’t be instrumentalized by the future.” No concern for artistry, craftsmanship, style, tone, wit, only whether a novel qualifies as a tool for social […]
[…]technological change will reshape the future persist, making the case for the continued value of critical literacies, with an emphasis on critical reading of and making with technology from within the humanities, rather than naïve reading practices and technological determinism in the face of emerging technologies. Works Cited Aarseth, Espen J. Cybertext: Perspectives on Ergodic Literature. Baltimore: Johns Hopkins University Press, 1997. Aguilera, Earl, and Jessica Z. Pandya. “Critical Literacies in a Digital Age: Current and Future Issues.” Pedagogies 16.2 (2021): 103–10. Burn, Stephen J. “The Collapse of Everything: William Gaddis and the Encyclopedic Novel.” In Paper Empire: William Gaddis […]
[…]Gothic’: Gaddis’s Anti-Pauline Novels.” in William Gaddis, “The Last of Something”: Critical Essays, eds. Crystal Alberts, Christopher Leise and Birger Vanwesenbeeck. McFarland and Company, 2010: 115–125. Stampfl, Barry. “Hans Vaihinger’s Ghostly Presence in Contemporary Literary Studies.” Criticism: a Quarterly for Literature and the Arts 40.3 (summer 1998): 437–454. Thomas, David Wayne. “Gödel’s Theorem and Postmodern Theory.” PMLA 110.2 (March 1995): 248-261. Vaihinger, Hans. The Philosophy of “As if”: A System of the Theoretical, Practical and Religious Fictions of Mankind (1911). trans. C. K. Ogden. Kegan Paul, Trench, Trubner, 1924. Vidal, Gore. The Decline and Fall of the American Empire. Southend […]
[…]Prodigy Went to Market: The Education of J R.” in William Gaddis, “The Last of Something”: Critical Essays, eds. Crystal Alberts et al., McFarland & Company Publishing, 2010: 126–42. Chetwynd, Ali. “Friction Problems: William Gaddis’ Corporate Writing and the Stylistic Origins of J R.” Orbit: A Journal of American Literature, 8.1, 2020. https://doi.org/10.16995/orbit.gaddis.2 Duplay, Mathieu. “Fields Ripe for Harvest: Carpenter’s Gothic, Africa, and Avatars of Biopolitical Control.” in William Gaddis, “The Last of Something”: Critical Essays, eds. Crystal Alberts et al., McFarland & Company Publishing, 2010: 143–59. Ercolino, Stefano. The Maximalist Novel: From Thomas Pynchon’s Gravity’s Rainbow to Roberto Bolaño’s 2666, trans. Albert Sbragia. […]
[…]2022 N. Katherine Hayles Award for Criticism for editing the first issue of The Digital Review on critical making and critical design. What is The Digital Review, and how is it distinct from other kinds of journals? And also, what is critical making? LF: Thank you for asking that. Because I think a lot of people will associate the editorial work I’ve been doing with ebr, electronic book review, which has been edited by Joseph Tabbi for a long time. TDR came, not necessarily out of the pandemic, but it was manifested in 2020. So, the timing seems as if […]
[…]2010s was academia. Notwithstanding the biography and letters, there was no further conference, critical monograph, or collection of essays on Gaddis between The Last of Something and the centenary events: not even another conference panel after “Why Now.” The reason may be generational: many of the 20th century’s Gaddis scholars—the generation(s) whose foundational 1970s or 1980s articles, or 1990s monographs, were compiled in Harold Bloom’s 2004 Modern Critical Views —had retired by the early 2000s. Between 2015 and 2022 a third of Bloom’s Gaddisians died. The bibliography of Gaddis scholarship reveals that only a small proportion of Gaddis’s scholars have published […]
[…]felt it would be even more difficult to try to convey that in J R than it is in The Recognitions. Working with the dialogues and working with this oral register in a way that wouldn’t sound too informal or even too pedantic, in many ways, was a difficult challenge in Portuguese. Max Nestelieiev: For me, the hardest part was, as I said, rhythm which depends on the length of the words. The other hard part was punctuation and syntax, which also depend on the length of the words and the differences between syntax and punctuation, English and Ukrainian. Yoshihiko […]
[…]relief overall is Gaddis’s persistent interest in existential humanist questions even as he was working on his great “systems novel,” with its long legacy of antihumanist or posthumanist critical interpretation. Gaddis at one point asks in a note why Slade, with all his devilish powers, would let the people beat and torture him in the opening scenes where his previous town runs him out on a rail. Gaddis imagines rewriting the scene to more fully stress Slade’s “scorn of the mob in the midst of this agonizing torment, his almost inhuman attempt to give them the satisfaction of seeing him […]