Hanieh Zaltash; Farid Parvaneh; Narges Montakhabi Bakhtvar
Abstract
IntroductionThe inauguration of electronic literature is highly entwined with the evolution of digital media, in a sense that it is called “digital born,” which refers to the works of art that are created on a computer and meant to be read on a computer. Multimodal web-fictions, also known ...
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IntroductionThe inauguration of electronic literature is highly entwined with the evolution of digital media, in a sense that it is called “digital born,” which refers to the works of art that are created on a computer and meant to be read on a computer. Multimodal web-fictions, also known as the second generation of electronic literature, utilize several modes, including image, sound/music, video, and text. Multimodal web-fictions provide us with the flow of various modes on the screen. Moreover, there is no clue that indicate how we could navigate the digital project. Although reading digital fictions seems problematic, we could unearth instances of particular patterns among various modes/media which are randomly scattered in Illya Szilak’s Queerskins (2012) and Hazel Smith’s Motions (2014), through following Kathrine Hayles’ and Patrik Colm Hogan’ theories. Background of StudyIn Electronic Literature (2019), Scott Rettberg provides a thorough introduction to contemporary genres of digital writing. The book is divided into seven chapters which focus on various genres of electronic literature. The Bloomsbury Handbook of Electronic Literature (2018), edited by Joseph Tabbi, could be considered as the first authoritative reference handbook to the field of Electronic Literature. It consists of four parts This book collects various scholars’ theories, concerning the significant concepts within electronic literature. Daniel Punday, in “Narrativity,” investigates narrativity within electronic literature. He commences by elucidating the evolution of narrativity and how electronic works can create and use narrativity. In “Rebooting Cognition in Electronic Literature,” David Ciccoricco highlights the significance of cognition in electronic literature. Refiguring Minds in Narrative Media (2005) by David Ciccoricco pivots on cognitive issues, including memory, perception, attention, and emotion. He explores aesthetic treatments of cognition in three kinds of narrative media: print novels, digital fiction, and story-driven video games. Methodology This research, on the one hand, aims to divulge the patterns that are hidden in random modes/ media of Queerskins (2012) and Motions (2014) through following Katherine Hayles theories, concerning apophenia. On the other hand, the present study utilizes Patrick Colm Hogan’s theories, regarding emotions and narrative goals, in order to delineate the narrative patterns in the aforementioned works. Redefining narrative as the pursuit of a goal, Hogan, according to Sanskrit theories, claims that every story is formed around at least one of the chief goals because these are the goals around which all human life is ordered. The Indic tradition depicts that the goals of life, also known as the purusārthas, are kāma, artha, moksa, and dharma. These goals trigger particular emotions. Therefore, in Illya Szilak’s Queerskins (2012), Sebastian’s romantic relationships and his self-blame emotions are respectively based on Kama and Moksa, and in Hazel Smith’s Motions (2014), characters’ quest to again social prosperity reveals that their lives are based on artha.ConclusionFollowing Katherine Hayles’ theories, concerning apophenia, it could be argued that narrative patterns could be traced in electronic literature. In other words, various modes/media, which randomly emerge in Illya Szilak’s Queerskins (2012) and Hazel Smith’s Motions (2014), could portray narrative patterns. Although the novels seem fragmented, reading them through Patrick Colm Hogan’s theories, regarding emotions and narrative goals indicates that the underlying pattern is a picture of working memory process when emotions are triggered by life or narrative goals. In Queerskins (2012), narratives are based on Kama and Moksa, and in Motions (2014), narratives are centered on artha. Therefore, the pursuit of the aforementioned goals in Queerskins and Motions creates narrative patterns which challenge randomness of the various modes.
farid parvaneh; Hanieh Zaltash
Abstract
Abstract It could be argued that myths always have a salient role in the human’s life, in a sense that all the human’s intentions, motives, deeds, and judgments have their roots in myths. Seemingly, the death of myths causes the annihilation of the world. This research aims to divulge the ...
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Abstract It could be argued that myths always have a salient role in the human’s life, in a sense that all the human’s intentions, motives, deeds, and judgments have their roots in myths. Seemingly, the death of myths causes the annihilation of the world. This research aims to divulge the portrait of myths and the hero’s journey in the technological world of William Gibson’s novels in order to reveal if the metamorphosis of the human to the post-human in the technological world could be considered as the adventure of the hero. On the other hand, the present study is based on the hypothesis that the traces of myths could be found in all times and in all places even in the technological world. William Gibson, who is a significant author of cyberpunk fictions, recreates the old myths through technological features. Therefore, this paper is an attempt to critically investigate the mythical elements, including the hero and the hero’s journey and examining them in William Gibson’s novels, Neuromancer (1984), Count Zero (1986), and Mona Lisa Overdrive (1988) to delineate that Gibson portrays a novel picture of myths and indicates that myths underlie all the stories and narratives. Gibson’s view has its roots in Campbell’s ideas regarding the existence of myths in all places and all times. In his The Masks of God: Primitive Mythology, Campbell argues that the permanent presence of myths in human history demonstrates that “man, apparently, cannot maintain himself in the universe without belief in some arrangement of the general inheritance of myth” (3). Since, according to Campbell, all myths follow the same patterns, the individual can find himself and his status in regard to the myths of the world. He also claims that all the stories, narratives, and works of literature could be more comprehensible through scrutinizing ‘monomyth’ and ‘the adventure of the hero’ which are variously represented.