Cautionary Tale: Stories Made and Distributed through the Internet
This paper explores the journey that experimental texts must undertake as they migrate from other mediated forms of representation to the digital. It will explicitly explore the Internet as the primary context and it will use my first digital text Red Riding Hood (6amhoover.com, 2001) as a device to not only talk about my own relationship with mediating existing texts into that which might be considered experimental but also to appraise the evolution and in turn the changing mediation power of the Internet.
folk, fairytales, digital culture
- Abstract viewed = 52 times
- PDF viewed = 16 times
- HTML viewed = 31 times
BETTELHEIM, Bruno (1975). The Uses of Enchantment: The Meaning and Importance of Fairy Tales. New York: Random House. Reprint, New York: Vintage Books, 1989.
COPLIN, David (2014). The Rise of the Humans: How to Outsmart the Digital Deluge. Petersfield, Harriman House Limited.
CRANE, Walter (1875). Little Red Riding Hood. London: George Routledge and Sons.
DAUBERT, Hannelore (2004). “Modern Forms of Narration: From Moralizing Cautionary Tales to Social Psychological Case Studies (Kirsten Boie’s Books on Xenophobia and Violence).” Bookbird 42: 52-57.
LEISHMAN, Donna (2001). “Red Riding Hood.” 6amhoover. 19 Feb 2018. http://www.6amhoover.com/redriding/red.htm. Archived details also available on ELMCIP: https://elmcip.net/creative-work/redridinghood
LEISHMAN, Donna (2018). 6amhoover. 19 February 2018. http://www.6amhoover.com
LEISHMAN, Donna (2012), “The Flash Community: Implications for Post-Conceptualism.” Dichtung Digital. 19 Feb 2018. http://www.dichtung-digital.org/2012/41/leishman/leishman.htm
MCLUHAN, Marshall (1962).The Gutenberg Galaxy: The Making of Typographic Man. Toronto: University of Toronto Press.
MULLIGAN, Mark (2017). “Gen Z Meet The Young Millenials.” A MIDiA Research report jointly commissioned by BPI and ERA Music. 19 Feb 2018. https://www.bpi.co.uk/media/1064/midiaresearchgenzfullreport.pdf
PERRAULT, Charles (1697). Histoires ou contes du temps passé, avec des moralités: Contes de ma mère l’Oye. Paris: Claude Barbin.
WARNER, Marina (1994). From the Beast to the Blonde: On Fairy Tales and Their Tellers. London: Chatto & Windus.
ZIPES, Jack (2001). The Great Fairy Tale Tradition: From Straparola and Basile to the Brothers Grimm. New York: W.W. Norton.
ZIPES Jack (2007). Fairy Tales and the Art of Subversion. Abingdon: Routledge.
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
MATLIT embraces full open access to all issues. Authors who publish with this journal agree to the following terms:
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 International (CC BY-NC-ND 4.0) that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal. The article can be quoted but not changed and presented differently.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
- A CC licensing information in a machine-readable format is embedded in all articles published by MATLIT.
- Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use.
- NonCommercial — You may not use the material for commercial purposes.
- NoDerivatives — If you remix, transform, or build upon the material, you may not distribute the modified material.
- No additional restrictions — You may not apply legal terms or technological measuresthat legally restrict others from doing anything the license permits.
- You do not have to comply with the license for elements of the material in the public domain or where your use is permitted by an applicable exception or limitation.
- No warranties are given. The license may not give you all of the permissions necessary for your intended use. For example, other rights such as publicity, privacy, or moral rights may limit how you use the material.