Electronic Literature as Paratextual Construction
The following discussion aims to reflect on how electronic literature and affiliated or related fields describe themselves paratextually. I will argue that the social construction of ‘electronic literature’ is dominated by its systemic self-description. The paratextual construction basically works with the ascription of the genre name ‘electronic literature’ and discursive descriptions or reflections to phenomena of artistic practice and has been institutionalized in no small part by the Electronic Literature Organization. The argument is developed by observing paratextual practices in founding narratives, archives and collections related to the ELO. This perspective is contextualized by looking at self-descriptions in the pre-history of e-lit within the artistic program of poietic experimentation.
paratext, systemic self-description, experimental poetry, institutionalization, poetological signals
- Abstract viewed = 90 times
- PDF viewed = 78 times
- HTML viewed = 30 times
BAILEY, Richard (1973). “Preface.” Computer Poems. Ed. Richard Bailey. Drummond Island, MI: Po-togannissing Press. n.p.
BLOCK, Friedrich W. (2010). “How to Construct the Genre of Digital Poetry. A User Manual.” Beyond the Screen: Transformations of Literary Structures, Interfaces and Genres. Eds. Jörgen Schäfer and Peter Gendolla. Bielefeld: Transcript. 391–402.
BLOCK, Friedrich W. (2000). “Vorwort: p0es1s – international digital poetry.” p0es1s – Internationale digitale Poesie / International Digital Poetry. Ed. F. W. Block. Kassel: Jenior. n.p.
BLOCK, Friedrich W. (2015). p0es1s. Rückblick auf die digitale Poesie. Graz, Klagenfurt: Ritter.
BOLTER, Jay David (1985). “The Idea of Literature in the Electronic Medium.” Computers in the Liberal Arts 39: 23–34.
DESROCHERS, Nadine and Daniel Apollon, eds. (2014). Examining Paratextual Theory and its Applications in Digital Culture. Hershey: Information Science Reference.
EMERSON, Lori (2011). “on ‘e-literature’ as a field.” 9 June 2018. https://loriemerson.net/2011/10/12/on-e-literature-as-a-field/
GARNIER, Pierre (1964). “Position I du Movement International.” Les Lettres 8(32). Quoted from: Garnier, Pierre (1968). Spatialisme et poésie concrète. Paris: Éditions Gallimard.
GENETTE, Gérard (1997). Paratexts. Thresholds of interpretation. Cambridge: Cambridge University Press.
HAYLES, N. Katherine (2007). “Electronic Literature: What is it?.” 9 June 2018. http://eliterature.org/pad/elp.html.
KAC, Eduardo (1996). “Introduction.” Visible Language 30(2): 98–101.
LAIRE, ed. (1989). alire. révue animée d´écrits de source électronique 1.
LUHMANN, Niklas (2000). Art as a Social System. Stanford, CA: Stanford University Press.
LUHMANN, Niklas (1995). Social Systems. Stanford, CA: Stanford University Press.
MELO E CASTRO, Ernesto M. (2014 ). “Experimental Poetry”. PO.EX. Essays from Portugal on Cyberliterature & Intermedia by Pedro Barbosa, Ana Hatherly, and E.M. de Melo e Castro. Eds. Rui Torres and Sandy Baldwin. Morgantown: Center for Literary Computing. 71–76. https://www.po-ex.net/pdfs/meloecastro_ch7.pdf
REICHARDT, Jasia (1968). “Introduction.” Cybernetic Serendipity – the computer and the arts. Ed. Jasia Reichardt. London, New York: Studio International. 5.
RETTBERG, Jill Walker (2012). “Electronic Literature Seen from a Distance. The Beginnings of a Field.” Dichtung Digital 41. 9 June 2018. http://www.dichtung-digital.de/journal/archiv/?postID=278
RETTBERG, Scott (2012). “Developing an Identity for the Field of Electronic Literature. Reflections on the Electronic Literature Organization Archives.” Dichtung Digital 41. 9 June 2018. http://www.dichtung-digital.org/2012/41/rettberg.htm
ROUX, Jean-Luis (1964). “no title.” Jean A. Baudot, La machine à écrire, mise en marche et programmé par Jean A. Baudot. Montréal: Les Éditions du Jour. 83–88.
TABBI, Joseph (n.d.). “Manifesto.” 9 June 2018. http://cellproject.net/manifesto
TORRES, Rui, and Manuel Portela (2013). “Géneros da Poesia Experimental Portuguesa.” 9 June 2018. http://po-ex.net/generos
VAN DIJK, Yra (2014). “The Margins of Bookishness: Paratexts in Digital Literature.” Examining Paratex tual Theory and its Applications in Digital Culture. Eds. Nadine Desrochers and Daniel Apollon. Her-shey: Information Science Reference. 24–45.
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.