Digitālās dzejas klasifikācija: Džovannas Di Rozārio un “klasiskā” modeļa sintēze

Abstract

Digital literature and digital poetry are relatively new fields that are developing rapidly. As a result, theoreticians are facing various challenges. There is a lack of unified terminology, classification, and the attempts to define the field result in either over-generalisation or, quite the contrary, they focus on certain aspects that are not common to all forms of digital literature or digital poetry. The boundaries between digital literature, cinema, art, video games etc., are rather blurred as well; thus, the aim of this article is to 1) provide a comprehensive overview of the attempts to define digital literature and digital poetry by established theoreticians and the consequent arguments opposing these attempts; 2) analyse the various systems of the classification of digital poetry in order to arrive to a model that would incorporate the seemingly complementary approaches. The work consists of theoretical literature analysis referring to Giovanna Di Rosario, Noah Wardrip-Fruin, Roberto Simanowski, Astrid Ensslin, Katherine N. Hayles, Espen Aarseth, Scott Rottberg, Alvaro Seica, Mirona Magearu et al. As a result, the analysis of the classification of digital poetry introduced by Di Rosario leads to a realisation of certain deficiencies, which are resolved by integrating the model within the relatively widespread approach (hypertext; hypermedia / visual / kinetic poetry; ciberpoetry / computer generated poetry / programmable media poetry), which lack Di Rosario’s categories of digital poetry – time and interaction.