In this monograph, I argue that English digital poetry has transcended the boundaries of print poetry through main interactivity. Thus, in chapter 1, I will present definitions of digital poetry and argue against their validity (Stefans, Jhave, Trimarco, Bohn, etc.); then I will present Funkhouser’s definition with the intention of demonstrating its accuracy. In chapter 2, I will argue that through interactivity, as a fundamental literary device and tool in digital literature as a whole, digital poetry is capable of transcending the boundaries of the print (juxtaposition, syntax, multipoeticality, etc,.). In chapter 3, I argue that the reader is less involved in the print medium than in digital medium wherein s/he is the primary force in the processes of editing, co-writing, choosing, and existing in the text. Thus, through these three chapters, I aim to prove that digital poetry has in fact transcended the boundaries of print poetry. One must note that the digital example in this paper cannot be printed; hence my use of only screenshots to make up for the inability to show them in their original, digital form.
Table of Contents
Introduction
Chapter 1: Defining Digital Poetry
Chapter 2: Transcending the Print through Interactivity
Chapter 3: The Reader as the Sole Authority
Conclusion
Objectives and Topics
This monograph examines the evolution of digital poetry and argues that it has effectively transcended the traditional boundaries of print poetry. By analyzing the role of technology and interactivity, the research demonstrates how digital media shifts the reader from a passive interpreter to an active participant who can manipulate, co-write, and exist within the literary work.
- The definition and categorization of digital poetry within contemporary academia.
- The role of interactivity as a fundamental literary device for transcending print.
- Comparative analysis of print and digital media regarding reader engagement and agency.
- The use of "juxtaposition" and "diagram poems" as technical advancements in digital literature.
- The transition of the reader from an interpreter of static text to a creator in a dynamic digital environment.
Excerpt from the Book
The Reader as the Sole Authority
As stated in the last chapter, interactivity is the most significant aspect in digital poetry; thus, this chapter, which is written to depict the transcendence of the boundaries of the print reader by the digital one, utilizes the arguments made in the previous chapter, inherently. So, this chapter focuses, primarily, on the reader.
According to the reader-response theory, “we can say that the poem has no real existence until it is read; its meaning can only be discussed by its readers” (Seldon, Widdowson, and Brooker 46). Thus, the readers assign meaning to the poem, or works of literature, as befits their understanding and interpretation. This theory focuses on the intentional neglecting of the reader and the reading process which was viewed, until recently, as too apparent to state.
When the writer (addresser) produces a text (message), it is deemed to be read by a reader (addressee) in a certain language (code) and in a place and time (context). The print text has a code and a context, in which it should be read, but the reader controls the context of the text; thus, s/he controls the meaning of the text. Furthermore, reader-response theorists are, and were, deconstructing the doctrine of new criticism that valorizes the text above the reader, and views meaning as inherent in the text which all readers should thrive to find.
Summary of Chapters
Introduction: The author introduces the emergence of digital literature and argues that digital poetry possesses unique potentials—distinct from print—that require a new critical framework centered on code and interactivity.
Chapter 1: Defining Digital Poetry: This chapter reviews various definitions and names for digital poetry, critiquing restrictive views that attempt to categorize it merely as a secondary sub-genre of print literature.
Chapter 2: Transcending the Print through Interactivity: The analysis focuses on how interactivity, particularly through techniques like juxtaposition and diagrammatic syntax, allows digital poetry to break free from the limitations of linear print.
Chapter 3: The Reader as the Sole Authority: This chapter explores reader-response theory to illustrate how the digital medium empowers the reader to move beyond interpretation and take an active, co-creative role in the poem.
Conclusion: The author synthesizes the arguments, reaffirming that the continuous evolution of technology ensures that digital poetry will keep transcending both the print medium and its own previous iterations.
Keywords
Digital Poetry, Interactivity, Print Poetry, Reader-Response Theory, Juxtaposition, Diagram Poem, Multipoetic, Code, Electronic Literature, Literature Boundaries, Multimodality, Digital Medium, Reader Authority, Intermedia, Literary Transcendence.
Frequently Asked Questions
What is the primary focus of this research?
The research explores how digital poetry distinguishes itself from traditional print poetry by utilizing new technical devices that allow for a greater level of interactivity and reader participation.
What are the central themes of the work?
The core themes include the definition of digital poetry, the significance of interactivity, the limitation of print media, and the shift in the reader's power dynamics within digital literary spaces.
What is the main goal of the paper?
The goal is to prove that digital poetry has transcended the physical and structural boundaries of print poetry through the inclusion of interactive and multi-layered (visual, verbal, and vocal) experiences.
What scientific methodology is employed?
The author employs a comparative literary approach, utilizing reader-response theory and analyzing specific digital works (such as Jim Rosenberg's "Intergrams") to highlight the differences between print and digital reading experiences.
What does the main body of the text cover?
The main body covers the theoretical definition of digital poetry, the technical analysis of interactivity as a tool for transcendence, and a deep dive into the reader's role as the authoritative force in digital environments.
Which keywords best characterize this study?
The most important keywords are Digital Poetry, Interactivity, Print Poetry, Juxtaposition, and Reader-Response Theory.
How does the author define "juxtaposition" in a digital context?
In the digital context, the author defines it through Jim Rosenberg’s work as the act of placing elements on top of each other, creating a dynamic structure that remains intelligible only through user interaction.
What is a "multipoetic" poem?
A multipoetic poem is a work that, due to its two-dimensional or multi-layered digital nature, allows multiple poems to exist simultaneously within one interface, a feat impossible in linear print media.
Why does the author argue that the print medium is limited?
The author argues that print is restricted by its "physical nature," meaning that once a book is written, it is static and finite, denying the reader any genuine, active control over the text itself.
What is the "vocal level" in digital poetry?
The vocal level is an additional dimension unique to the digital medium that integrates sound, working in coherence with the verbal and visual levels to create a unified, immersive experience.
- Quote paper
- Rachid Benharrousse (Author), 2018, Digital Poetry and the Transcendence of Print Poetry’s Boundaries, Munich, GRIN Verlag, https://www.grin.com/document/497534
