Can computer games be great literature? Do the rapidly evolving and culturally expanding genres of digital literature mean that the narrative mode of discourse-novels, films, television series-is losing its dominant position in our culture? Is it necessary to define a new aesthetics of cyborg textuality? In Cybertext, Espen Aarseth explores the aesthetics and textual dynamics of digital literature and its diverse genres, including hypertext fiction, computer games, computer-generated poetry and prose, and collaborative Internet texts such as MUDs. Instead of insisting on the uniqueness and newness of electronic writing and interactive fiction, however, Aarseth situates these literary forms within the tradition of "ergodic" literature-a term borrowed from physics to describe open, dynamic texts such as the I Ching or Apollinaire's calligrams, with which the reader must perform specific actions to generate a literary sequence. Constructing a theoretical model that describes how new electronic forms build on this tradition, Aarseth bridges the widely assumed divide between paper texts and electronic texts. He then uses the perspective of ergodic aesthetics to reexamine literary theories of narrative, semiotics, and rhetoric and to explore the implications of applying these theories to materials for which they were not intended.
具体描述
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不足的地方以及受年代影响的限制，作者在结语部分都自己写出来了。对MUD 和 adventure game 的分析非常喜欢。
评分As Aarseth argues, hypertext reading can be as limiting as, or, may be more limiting than, linear reading. Readers have to scrutinise every word in hypertext in order to avoid missing electronic links or meeting same links repeatedly.
评分赛博文本跟控制论同源，必然牵涉文论的经典问题，作者、文本、读者的关系。读者成为了用户，文本成为了超文本，作者成为了，现代主义文学不同之处在于，赛博文本的实验空间不局限于叙述者，而在于读者到用户的断层，因而贝克特和卡尔维诺算不得赛博文本。内容涵盖了纸质文本（《易经》、阿波利奈尔、B.S.约翰逊）与电子文本（迈克尔·乔伊斯《午后》）。诸多亮点，从量化文本的方法到“用户”的政治与意识形态都算是奠基性的贡献吧？
评分作业用
评分不足的地方以及受年代影响的限制，作者在结语部分都自己写出来了。对MUD 和 adventure game 的分析非常喜欢。
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