{"id":834,"date":"2012-10-17T09:48:02","date_gmt":"2012-10-17T16:48:02","guid":{"rendered":"https:\/\/blogs.ubc.ca\/lled368\/?page_id=834"},"modified":"2012-11-28T17:18:42","modified_gmt":"2012-11-29T00:18:42","slug":"e-literature","status":"publish","type":"page","link":"https:\/\/blogs.ubc.ca\/lled368\/presentations\/e-literature\/","title":{"rendered":"E-literature"},"content":{"rendered":"

1. What is E-literature?<\/strong><\/p>\n

In \u201cElectronic Literature: What is it?\u201d N. Katherine Hayles outlines the fluid nature of the definitions of e-literature. To be specific, Hayes points out that \u201celectronic literature, generally considered to exclude print literature that has been digitized, is by contrast “digital born,” a first-generation digital object created on a computer and (usually) meant to be read on a computer\u201d and \u201celectronic literature is normally created and performed within a context of networked and programmable media, it is also informed by the powerhouses of contemporary culture, particularly computer games, films, animations, digital arts, graphic design, and electronic visual culture\u201d (Hayles).<\/p>\n

Furthermore, in \u201cArtists and Innovators Literature in a Hypermedia Mode: An interview with Marjorie Luesebrink\u201d, digital writer, Luesebrink, notes that “electronic literature” is a word still slouching toward definition. In the broadest sense, electronic literature includes all writing that is produced in electronic form. This would include everything from the reproduction of, say, Pride and Prejudice on the web, to works produced for electronic reading devices such as Soft-Book or E-Book [\u2026] One subset of electronic literature is “hypertextual” \u2014 that is, literature which is characterized by multiple links from pages or sections, multilinear structures, and a spatial or temporal organization [\u2026] though, the “hypertextual” electronic literature has seen the blossoming of yet another subset \u2014 that of hypermedia. Hypermedia literature usually has a multilinear form, but also uses graphics, sound, animation, or video as part of the content\u201d (Swiss).
\n<\/strong><\/p>\n

2. Key Issues for Educators<\/p>\n

In \u201cMultiliteracies, E-literature, and English Teaching\u201d Lens Unsworth explains that \u201cthe impact of information and communication technologies (ICTs) is changing the nature of literary narratives for children and the contexts in which they experience and respond to such narratives outside of school contexts. However, in the main, teachers do not feel confident or comfortable in the world of digital multimedia\u201d (Unsworth).<\/p>\n

Therefore, Unsworth outlines three frameworks for developing classroom work around e-literature. With these frameworks, Unsworth seeks to enable educators to gain a more tangible understanding of e-literature as a genre and the benefits of integrating it into English Language Arts classrooms.<\/p>\n

1. Organizational Framework \u2013 describes the articulation of conventional and computer- based literary narratives for children and adolescents
\na. Augmented \u2013 published in book; enhanced online
\nb. Re-contextualized \u2013 CD-ROMs; scanned downloadable versions
\nc. Digitally originated
\ni.E-stories
\nii.Linear narratives
\niii.E-narratives
\niv.Hypertext narratives
\nv.Hypermedia narratives
\nvi.Game narratives<\/p>\n

2.Interpretive Framework – addresses the increasingly integrative role of language and images in the construction of literary meanings in electronic and book formats.
\na. Increasingly integrative role of language and images in the construction of literary meanings.
\nb. Many contemporary texts make use of image and of writing at the same time, using both to carry meaning in specific ways. In that context, [\u2026] graphic material of \u2019letters\u2019 alone is no longer able to explain how we derive meaning from texts.
\nc. Require a meta-language, or a grammar, for describing these meaning-making resources.<\/p>\n

3. Pedagogical Framework – describes various types of online contexts for developing understanding about different dimensions of literary experience.
\na. Composition\/Story genesis \u2013 J.K. Rowling; Philip Pullman websites
\nb. Invitation\/Enticement to read
\nc. Appreciation\/Celebration \u2013 Fan blogs
\nd. Interpretation\/Response
\ne. Adjunct composition\/creation \u2013 Fan fiction<\/p>\n

3. E-literature and the BC Ministry of Education curriculum related to English Language Arts.<\/strong><\/p>\n

Like Social Media, there are no specific PLOs that address the topic of electronic literature. Nevertheless, e-literature includes an array of texts for educators to draw new ideas from and adapt into more conventional and traditional classroom activities that do meet the PLOs. Refer to the lesson plan and teaching resources to view the ways in which e-literature may be adapted into the traditional BC classroom.<\/p>\n

4. The Lesson Plan<\/strong><\/p>\n

PDF: https:\/\/blogs.ubc.ca\/lled368\/files\/2012\/11\/e-lit_lessonplan.pdf<\/a><\/p>\n

5. Works Cited <\/strong><\/p>\n

Hayles, N. Katherine. (2007). Electronic literature: What is it? The Electronic Literature Organization.<\/p>\n

Swiss, Thomas. (2000). Artists and Innovators. Literature in a Hypermedia Mode: An interview with Marjorie Luesebrink.<\/p>\n

Unsworth, Len. (2008). Multiliteracies, E-literature and English Teaching, Language and Education, 22:1, 62-75.<\/p>\n

6. Teaching Resources<\/strong>
\n1. Inanimate Alice Edupack<\/a>
\n2. Inanimate Alice Website<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

1. What is E-literature? In \u201cElectronic Literature: What is it?\u201d N. Katherine Hayles outlines the fluid nature of the definitions of e-literature. To be specific, Hayes points out that \u201celectronic literature, generally considered to exclude print literature that has been digitized, is by contrast “digital born,” a first-generation digital object created on a computer and […]<\/p>\n","protected":false},"author":473,"featured_media":0,"parent":65,"menu_order":0,"comment_status":"open","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-834","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/blogs.ubc.ca\/lled368\/wp-json\/wp\/v2\/pages\/834","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.ubc.ca\/lled368\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/blogs.ubc.ca\/lled368\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.ubc.ca\/lled368\/wp-json\/wp\/v2\/users\/473"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.ubc.ca\/lled368\/wp-json\/wp\/v2\/comments?post=834"}],"version-history":[{"count":7,"href":"https:\/\/blogs.ubc.ca\/lled368\/wp-json\/wp\/v2\/pages\/834\/revisions"}],"predecessor-version":[{"id":1012,"href":"https:\/\/blogs.ubc.ca\/lled368\/wp-json\/wp\/v2\/pages\/834\/revisions\/1012"}],"up":[{"embeddable":true,"href":"https:\/\/blogs.ubc.ca\/lled368\/wp-json\/wp\/v2\/pages\/65"}],"wp:attachment":[{"href":"https:\/\/blogs.ubc.ca\/lled368\/wp-json\/wp\/v2\/media?parent=834"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}