William Shakespeare an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon". His surviving works, including some collaborations, consist of about 38 plays, sonnets, two long narrative poems, and several other poems.
Notes Abstract This essay surveys the development and current state of electronic literature, from the popularity of hypertext fiction in the 's to the present, focusing primarily on hypertext fiction, network fiction, interactive fiction, locative narratives, installation pieces, "codework," generative art and the Flash poem.
It also discusses the central critical issues raised by electronic literature, pointing out that there is significant overlap with the print tradition.
At the same time, the essay argues that the practices, texts, procedures, and processual nature of electronic literature require new critical models and new ways of playing and interpreting the works.
Because this essay is the first systematic attempt to survey and summarize the fast-changing field of electronic literature, artists, designers, writers, critics, and other stakeholders may find it useful as an overview, with emphasis on recent creative and critical works.
And you don't know how to look because you don't know the names. Katherine Hayles opens the aperture more widely and the angle differs slightly as well. Her electronic literature "primer" is a wide-ranging essay that takes the pulse of the e-literature field at this particular moment, reminding us that "literature" has always been a contested category.
While both Hayles and Tabbi agree on many points and cover some of the same territorythere are also some interesting differences between the essays. Katherine Hayles is largely concerned with defining a field, Joseph Tabbi is concerned more with defining the possibility and conditions of literature's persistence in digital environments.
The authors pitch their respective 'approaches' to different audiences; each seems to have a different sense of what needs to be done first — critique digital literary works Hayles or define the conditions for the emergence of possible digital literary works Tabbi.
Both strike me as equally important. And most of us in the Electronic Literature Organization believe that the two critical orientations represented work together. In short, you can't have one without the other, and you can't have anything at all without the pragmatic, writerly tactics employed in the 'Two Bits' essays already online in the ELO library.
Brother Paul, the precentor in charge, had detected a murmur from the back row and, furious that the rule of silence was being compromised, strode down the aisle just in time to see Brother Jacob tuck something under his robe.
For the last twenty years David Lynch has been making different iterations of the same story: someone isn’t who he thinks he is. Each of his films in this period tells two stories, one masking the other: the one the protagonists are telling themselves, and one they’re trying not to. Colophon · The template for the Web edition of this document was marked up by Nick Montfort in valid XHTML with a valid CSS2 style sheet. It is screen-friendly and printer-friendly; a style sheet for printer output is provided which browsers should use automatically when users print the document. Turnitin provides instructors with the tools to prevent plagiarism, engage students in the writing process, and provide personalized feedback.
When he demanded to see it, Brother Jacob shamefacedly produced a codex, but not one that the antiquarii of this monastery had copied — or of any monastery, for this Psalter was printed.
Shocked as much by the sight of the mechanical type as Brother Jacob's transgression, Brother Paul so far forgot himself that he too broke the silence, thundering that if books could be produced by fast, cheap and mechanical means, their value as precious artifacts would be compromised.
Moreover, if any Thomas, Richard or Harold could find his way into print, would not writing itself be compromised and become commonplace scribbling?
And how would the spread of cheap printed materials affect the culture of the Word, bringing scribbling into every hut and hovel whose occupants had hitherto relied on priests to interpret writing for them? The questions hung in the air; none dared imagine what answers the passing of time would bring.
This fanciful scenario is meant to suggest that the place of writing is again in turmoil, roiled now not by the invention of print books but the emergence of electronic literature.
Just as the history of print literature is deeply bound up with the evolution of book technology as it built on wave after wave of technical innovations, so the history of electronic literature is entwined with the evolution of digital computers as they shrank from the room-sized IBM machine on which I first learned to program sporting all of 4K memory to the networked machine on my desktop, thousands of times more powerful and able to access massive amounts of information from around the globe.
The questions that troubled the Scriptorium are remarkably similar to issues debated today within literary communities.
Is electronic literature really literature at all? Will the dissemination mechanisms of the Internet and World Wide Web, by opening publication to everyone, result in a flood of worthless drivel?
Is literary quality possible in digital media, or is electronic literature demonstrably inferior to the print canon? What large-scale social and cultural changes are bound up with the spread of digital culture, and what do they portend for the future of writing? Note 1 These questions cannot be answered without first considering the contexts that give them meaning and significance, and that implies a wide-ranging exploration of what electronic literature is, how it overlaps and diverges from print, what signifying strategies characterize it, and how these strategies are interpreted by users as they go in search of meaning.
In brief, one cannot begin to answer the questions unless one has first thoroughly explored and understood the specificities of digital media.Feb 17, · In "The Road Not Taken," Frost does not indicate whether the road he chose was the right one.
Nonetheless, that is the way he is going now, and the place he ends up, for better or worse, was the result of his alphabetnyc.coms: 7.
The sequence of their correspondence on the poem is a miniature version of the confusion “The Road Not Taken” would provoke in millions of subsequent readers: (1) Frost sends the poem to Thomas, with no clarifying text, in March or April of What is the purpose of this page? Creating rubrics, assignments, and lessons takes up too much of my time.
I created this as a way to share the things that I have created/collected over the last ten years. Robert Frost was born in San Francisco, but his family moved to Lawrence, Massachusetts, in following his father’s death.
The move was actually a return, for Frost’s ancestors were originally New Englanders, and Frost became famous for his poetry’s engagement with . Robert Frost: Poems study guide contains a biography of poet Robert Frost, literature essays, quiz questions, major themes, characters, and a full summary and analysis of his major poems.
The Road Not Taken analysis essay The Road Not Taken, written by Robert Frost is a poem about a traveler deciding which road he would be taking and the decisions in his life. The author has used poetic devices such as metaphors, past tense and descriptive language.