Wiki – Laboratoire Ex situ / René Audet

Cette page est en lecture seule. Vous pouvez afficher le texte source, mais ne pourrez pas le modifier. Contactez votre administrateur si vous pensez qu'il s'agit d'une erreur.
  * __Référence__ : McGANN, Jerome, //Radiant Textuality: Literature after the World Wide Web//, New York, Palgrave, 2001, 272 p.
  * __Synthèse__ : Un travail de référence, même si certaines lacunes bibliographiques sont mentionnées dans le compte rendu. Dans la lignée de la « Florida School of criticism », avec des chapitres importants sur l’aspect « déformant » et performatif de toute critique. 
  * __Mots-clés__ : Web, Humanities, Florida School of Criticism, Ontology, Deformation, Textuality
  * __Langue__ : Anglais
  * __Format__ : Papier
  * __Description existante__ : « Jerome McGann has been at the forefront of the digital revolution in the humanities. His pioneering critical projects on the World Wide Web have redefined traditional notions about interpreting literature. In this trailblazing book, McGann explores the profound implications digital media have for the core critical tasks of the humanities. Drawing on his work as editor of the acclaimed hypertext project The Rossetti Archive, he sets the foundation for a new critical practice for the digital age. Digital media, he demonstrates, can do much more than organize access to great works of literature and art. Beyond their acknowledged editorial and archival capabilities, digital media are also critical tools of unprecedented power. In McGann's practical vision, digital tools give scholars a flexible, dynamic means for interpreting expressive works -- especially those that combine text and image. Radiant Textuality demonstrates eloquently how new technologies can deepen our understanding of complex, multi-layered works of the human imagination in ways never before thought possible. », trouvé sur http://dl.acm.org/citation.cfm?id=559672, le 6 mars 2017.
  * __Compte rendu existant__ : BROGLIO, Ron, « Radiant Textuality shows McGann building important theoretical arguments for pursuing digital humanities. Since the early 1990s, he has been a central voice in digital editing and experimentation. My one regret is that many other voices of the computing in the humanities community do not make an appearance in his book. McGann's experiments in digital textual deformation build on methods of interpretation advocated by digital guru Greg Ulmer in Teletheory, Applied Grammatology and Internet Invention. Over the last decade, Ulmer and many from the loosely grouped Florida School of criticism have adopted experimental methods for reading literature through the construction of new media objects. Textual deformation leads to questions about the ontology of the text which Katherine Hayles has vigorously pursued. Likewise, Jay Bolter and Richard Grusin's popular Remediation certainly has relevance in any discussion about the translation between book and digital media. McGann's examinations of online textual editions include his own sophisticated Rossetti Archive but omit the formidable The Blake Archive and important editors such as George Bornstein and Peter Shillingsburg. Finally, his advancement of critical gaming overlooks many gaming communities as well as performative interpretations constructed over the last five years in Romantic Circles' MOO space. Attending to suchs omissions reveals the rich polyphonic discourse amid which McGann's voice rings clearly. », trouvé sur https://www.rc.umd.edu/reviews-blog/jerome-j-mcgann-radiant-textuality-literature-after-world-wide-web, le 6 mars 2017; voir aussi :
http://www.euppublishing.com/doi/pdfplus/10.3366/ccs.2004.1.3.371, trouvé le 6 mars 2017.