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Storyspace software5/7/2023 How to read this text: You can read this text either consecutively or by jumping between the poem and its comments. In other words, the conventional hierarchy between text and annotation is turned upside down, giving rise to an intricate network of proto-hypertextual links and text nodes. Unlike the comments in a standard edition, Kinbote’s notes become almost more important than the poem itself as they deal with matters far beyond academic concerns. The poem has been annotated profusely by another fictional character, the poet’s neighbour and fellow academic, Charles Kinbote. Pale Fire is a poem of 999 lines, composed by a fictional writer named John Shade. How to read this text: Move individual poetry lines, or cards, forward and backward to form different versions of the ten sonnets. The group has been in existence since 1960. French writer Raymond Queneau co-founded a group of experimental poets called Oulipo, which is short for ‘Ouvroir de littérature potentielle’, or ‘workshop of potential literature’. As indicated by the title of the work, there are, in theory, one hundred thousand billion (10 14 or 100,000,000,000,000) different poems in this text. This book is a collection of individual lines from 10 sonnets, cut into card strips so that the reader can combine and re-combine them indefinitely to arrive at diverse readings. They were part of a general postmodernist move towards deconstructing traditional literary forms and subverting common expectations of what a novel or poem should look like.įurniture kindly supplied by: Door44 Ltd ( ) and Vintedge, 444 Abbeydale Rd, Sheffield, S7 1FR ( ). Johnson), the United States (Vladimir Nabokov), France (Raymond Queneau and Marc Saporta), Argentina (Julio Cortázar), and Italy (Nanni Balestrini). The works in this section of the exhibition are print novels and poems published in the 1960s by eminent writers from the UK (B.S. In all of these texts, the reader is allotted some responsibility for choosing which paths to take through them. As if anticipating the creation of digital hypertext in the 1980s in which fragments of digital texts are connected by hyperlinks, these experimental print texts are also presented as fragments which can be read in different orders. Some print works, retrospectively collected under the term ‘proto-hypertext’, are often seen as the literary precursors of digital fiction. Station 3: 1990s Storyspace Hypertext Fiction While digital literature is facilitated by new media technologies, its heritage lies in print and those writers who were pushing the boundaries of what this medium could do. Gallery 1 traces the historical development of digital literature from the experimental print predecessors of the 1960s, through the pre-web text-based forms of the 1980s and 1990s, to current multimodal web- and App-based incarnations.
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