Hypertext Literature Research Articles

Interview with Astrid Ensslin

Astrid Ensslin is Professor for the Dynamics of Virtual Communication Spaces at the University of Regensburg. She has been a Director of the Electronic Literature Organization since 2018. Amongst her key roles in the e-lit community have been Co-Director of the Electronic Literature Directory, convener of the ELO Fellows scheme and, since 2019, Principal Editor of the Bloomsbury Electronic Literature book series. She has published 12 books and over 70 peer-reviewed articles on aspects of digital fiction, literary hypertext, literary games and many other topics relevant to the Hypertext community.

Building Hypertext Literature Reviews for Qualitative Research

Building Hypertext Literature Reviews for Qualitative Research

HUNGARIAN LITERATURE IN DIGITAL FORMAT: ELECTRONIC, DIGITAL AND HYPERTEXT

Literature has become an integral part of the digital revolution, which began in the middle of the twentieth century. With the publication of the The Norton Anthology of American Literature in 1998 in addition to printed works, texts written in a hypertext environment were also included, so hypertext literature officially became part of the cultural canon.

МОДЕЛЬ ОБУЧЕНИЯ ИНОСТРАННЫХ СТУДЕНТОВ ВОСПРИЯТИЮ ХУДОЖЕСТВЕННЫХ СМЫСЛОВ С ИСПОЛЬЗОВАНИЕМ УЧЕБНОГО ХУДОЖЕСТВЕННОГО ГИПЕРТЕКСТА

The relevance of the study is due to the fact that in recent years human relation with information flows have changed. The thinking and perception of meanings, especially by the younger generation, also begin to change noticeably. In this regard, the communication of an individual with a literary text presented in digital format deserves more attention. The purpose of the study is to create a model of learning to read this type of text, taking into account the features of a literary hypertext, which will optimize the process of learning to read a literary text in a foreign language. As an example of methodical processing of an autonomous educational hypertext, an excerpt from the story "Scar" by E. Grishkovets was used. In the process of developing a model for teaching foreigners to read literary hypertext, the following methods were used: analytical (linguocultural and linguocognitive analysis), interpretation method and modeling. In the study were compared such concepts as “literary text”, “hypertext”, “electronic hypertext” and “educational fiction text”. Literary hypertext is a traditional text, but it is organized in a different way than a linear text, so when it is perceived, specific perception mechanisms operate. The definition of educational literary hypertext in the aspect of teaching Russian as a foreign language is given; the linguodidactic potential of hypertext in relation to the teaching of Russian as a foreign language is revealed, the algorithm for working with Russian-language literary hypertext in a foreign audience is substantiated. It is assumed that educational hypertext as a new way of artistic communication can exist in two forms: network hypertext and autonomous hypertext. It is concluded that a methodically processed literary text, presented as a hypertext, makes it possible to optimize the process of teaching foreign students to read literary works in Russian. The prospects for the study are seen in the creation of an electronic manual for teaching foreign students to read the works of Russian writers based on the proposed model.

Нарративная структура книги-игры как разновидности гипернарратива

The article describes the research of the narrative structure of gamebooks as an example of hypertext fiction. The aim of the research is to analyse the storyline of Raymond Queneau’s gamebook “A Story of Your Own” as a literary hypertext narrative, to define the peculiarities of its structural organization and to come up with a narrative scheme of the gamebook. The methodology of the research is based on the narrative analysis predicated by the invariant narrative scheme offered by William Labov and Joshua Waletzky. The research novelty lies in the fact that for the first time a narrative analysis of a book-game is carried out taking into account its narrative and hypertext characteristics and the hypernarrative structure of a bookgame is described and presented in the form of a scheme. The article dwells on the notions of the narrative, its prototype form and hypertext narrative as being a combination of hypertext and narrative. The author also defines the conception of the hypertext gamebook, follows its evolution. As a result of the analysis of Raymond Queneau’s minimalistic gamebook, the author identifies following isomorphic characteristics of a gamebook: nonlinearity and variation of the plot structure, fragmentarity and interactivity (the dialogue between the author, the reader and the text). The gamebook narrative structure utilizes all the narrative components (Abstract, Orientation, Complicating Action, Evaluation, Resolution, Coda), but there are some deviations from the scheme of the prototype linear narrative such as the combination of all narrative components in one, the substantial repetition of a component, the implementation of a component in a different textone, elimination, the presence of narrative polycomponents and their discontinuity, the implementation of a new component of Evaluation by the reader. All these deviations fulfil their definite functions inherent in the game-book. The gamebook structural abnormities are explained by the hypertext strategy of the narration and by interactivity. They create a new fiction space with numerous textual branches, make it possible to expand and to restrict the framework of the narration, boost the narrative dynamics and encourage readers’ activity. As a result of the research, the gamebook narrative scheme has been devised and described. This scheme includes potential authorial variations and it can be applied as the basis for the analysis of all kinds of hypertext narratives.

Hypertext as a Form of Artistic Refl ection of Reality in the Digitalization Era

The article considers hypertext as a form of artistic refl ection of reality that emerged at the end of the twentieth century, where individualization and computer technologies come to the fore. Initially, the concept of “hypertext” was used in the fi eld of programming. However, the concept of “branching” turned out to be promising, and researchers started talking about hypertext literature. In this regard, the purpose of the study is to consider hypertext as a form of artistic refl ection of reality in the era of digitalization. The article uses the following literary methods: cultural-historical, phenomenological, the method of structural analysis of the text. The scientifi c novelty of the research is determined by the need to determine the patterns of development of hypertext literature and to identify its specifi cs. The article reveals the main features of literary hypertext: non-linearity, fragmentation, multi-authorship, interactivity. In addition, we can see how the form of interaction with the text is changing: there is no traditional paradigm of “author – text – reader” in front of us. Bakhtin’s concept of dialogue is replaced by R. Barth’s idea of the author’s death. Hypertext literature builds a new way of interacting with the text, in which the reader takes the place of the author. The theoretical provisions of the work were confi rmed by the analysis and evaluation of foreign and Russian hypernovels. The article also suggests that the main reason for the collapse of the traditional linear narrative in literature is social atomization, which inevitably leads to the disappearance of genuine dialogue in the modern world. The results of the study can be used in the study of the culture of the era of digitalization. In addition, the identifi cation of examples of genuine dialogism associated with the reader’s understanding of the author’s idea in the works of electronic hypertext literature, intertextual references to other texts as a way of semantic increment and not the implementation of a purely game strategy seems quite promising for the complex of sciences involved in the identifi cation of meanings in modern culture: philosophy, literary studies, semiotics, cultural studies.

How an Academic Companion Website Makes Media-Specific Arguments

How an Academic Companion Website Makes Media-Specific Arguments Hannah Ackermans (bio) Differences in media materialities produce different content and meaning. N. Katherine Hayles's concept of "media-specific analysis" has become a staple in the study of creative digital artifacts, which she posits to "explore the dynamic interaction between the artifactual characteristics and the interpretation that materiality embodies." 1 Hayles conceives of media-specific analysis to interrogate the materiality of literary hypertext. Its print and digital manifestations make it ideal for her to analyze the specificity of the electronic hypertext. Although increasingly commonplace in the study of creative works, a parallel for the study of multimodal academic texts is still in the evolution phase. Comparable to hypertext's print and digital manifestations, print books can have digital companion websites as counterparts. Unlike hypertexts, these print and digital counterparts usually complement each other in one project. In reviewing academic texts, we take media-specific analysis to a higher level by investigating the effects of media-specificity on the intellectual intervention of the book project. Just as Hayles argues that part of the meaning of a hypertext is in the links between textual nodes, so can a companion website make arguments by its content as well as its structure. For this review, then, my overarching interrogation is, how does the companion website reflect, amplify, and contradict the arguments made in the book? Book With his conception of critical code studies (CCS), Mark C. Marino aims to persuade people of the significance of source code within cultural analysis. His 2006 essay "Critical Code Studies" in Electronic Book Review started the development of CCS in a reflective, theoretically grounded manner. 2 Since then, the field has grown, with more applied publications such as Reading Project: A Collaborative Analysis of William Poundstone's Project for Tachistoscope {Bottomless Pit} . 3 Mark C. Marino and Jeremy Douglass have also organized [End Page 1011] biennial Critical Code Studies Working Groups since 2010. Through various themes, participants have collaborated on analyzing various case studies. This has led, for example, to the book 10 PRINT CHR$ (205.5+RND(1)); : GOTO 10, 4 in which ten researchers analyze the same one-line Commodore 64 BASIC program. Now there is Critical Code Studies. 5 Despite having fifteen years of publications before it, this book is likely to become the main source of reference for the field for its successful combination of a proclamation of the importance of source code and an application of analysis to the source code. The first chapter introduces small case studies, familiarizing the reader with code as well as contextual sources. The introduction creates a feeling of excitement. Like a treasure hunt, it motivates the reader to delve deeper into the code to find all the hidden gems within. Chapter 2 is a revised version of the initial 2006 essay, now with the new subtitle "a manifesto." This manifesto contains surprisingly little source code; rather, it engages with prior research on source code to claim its position as a field. In the rest of the chapters, this changes significantly. Through more case studies, Marino demonstrates the creativities and ambiguities present in source code. Chapter 3 analyzes the hacktivist art project Transborder Immigrant Tool as a simulation of ideologies through code. Code, then, is immediately positioned as a political signifier. Chapter 4 reflects on the so-called Climategate, in which a piece of leaked code was used as supposed evidence of a climate change hoax. This chapter almost reads like a detective novel, as the twists and turns of the analysis of the code and surrounding sources uncover the true story around "Climategate." Chapter 5 turns to FLOW-MATIC to highlight the connection and tension between coding language and natural language. Although every chapter takes an engaged approach, this chapter's perspectives especially demonstrate a sensitivity to the nuances of language in relation to gender, colonialism, and labor. In chapter 6, Friedrich Kittler's code is shown to exemplify his theoretical positions. A true humanities chapter, this analysis demonstrates the relation between theory and artistic practice consolidated in code. Finally, chapter 7 considers generative code by analyzing Nick Montfort's computer poem Taroko Gorge in relation to...

Literatura hipertekstowa a preferencje czytelnicze młodzieży (implikacje dydaktyczne)

W artykule zaprezentowano literaturę hipertekstową w kontekście preferencji czytelniczych młodych ludzi i pogłębiającego się kryzysu czytelnictwa. Autorka uzasadnia wartość e-utworów w rozwijaniu zainteresowań czytelniczych współczesnej młodzieży, wykazując, że dzieła cyfrowe dzięki przełamanej linearności, wielopiętrowej architekturze, multimedialności, zespoleniu typografii statycznej z kinetyczną gwarantują swoistą literacko-rozrywkową ucztę, a przy tym intelektualno-twórczą inspirację. Odbiorca z jednej strony obcuje z atrakcyjną hybrydalną strukturą i otrzymuje możliwość lektury opartej na dokonywaniu samodzielnych wyborów, a z drugiej – wciąż może rozwijać zdolność czytania ze zrozumieniem, wrażliwość estetyczną, inteligencję emocjonalną i racjonalną, wyobraźnię, a także inne różnorakie umiejętności: interpretacyjne, argumentacyjne, analityczne itd.

Digitaalse kirjanduse defineerimisest ja periodiseerimisest

The article examines the links between digital literature and digital humanities, as well as various definitions and periodisation of digital literature. Digital literature is ‘digitally born’ literature, created and studied since the end of the 1980s and largely defined as a work with an important literary aspect that takes advantage of the capabilities and contexts provided by computer technology (e.g. hypertext literature, multimedia poetry, interactive literature, etc.). In the periodisation of digital literature, two generations have so far been differentiated (late 1980s until 1995 and from 1995 until today). The article adds a third generation to this periodisation, starting from2006–2007 and linked with the development and spread of social media platforms (Twitter, Facebook, Tumblr) and smart gadgets. The article defines the third generation of digital literature as literature created via social media (including so-called Alt Lit literature), characterised by its democracy, dialogue between participants, textual and narrative dynamics, and mixing of various forms of media. In addition, it is suggested that this type of literature can be associated with post-postmodernist literary trends. A closer look is taken at the work of Estonian authors Kaur Riismaa, Liina Tammiste and Keiti Vilms, who have all used social media platforms (Facebook,Twitter). The article discusses whether these authors can be associated with the term ‘Alt Lit’. The conclusion reached is that several of the features of Alt Lit can be ascribed to the texts and activity of Riismaa, Tammiste and Vilms; Alt Lit features seem to correspond best to Vilms. The overall conclusion of the article is, however, that the content and essence of digital literature does not so much depend on the will of the authors, creative impulses or inner-literature movements, but instead on the development of computer technology. Thus the definitions of digital literature are dynamic in time and depend on the technological solutions that are emerging in a given period and the types and works of digital literature these new technologies can inspire. Keywords digital literature, digital humanities, Alt Lit, Facebook,Twitter, Estonian literature

Artes y literatura en la LOMCE: mecanismos para la comprensión de lecturas plurales

The current curriculum in Compulsory Secondary Education within the LOMCE law evidences the existing connection between the different artistic expressions. Specifically in the literary subjects, it is aimed to promote the consideration of the links between Literature and the rest of arts (Music, Painting, Cinema…) as an expression of the human feelings, while analyzing and interrelating works, characters and plots from all the time periods.Aesthetics, Rhetoric, Poetry, Fine Arts, Musicology, Semiotic, the Comparative Literature, and Criticism, as disciplines interested in the foresaid pairing, have just joint their studies, examining, from a theoretical approach, the existing links and transpositions between arts. In the educational field, establishing analogies and intersections between arts is conceived as a process for understanding the literary works: the didactic use of the semiotic correspondences for showing an interconnected reality of multiple readings in the classroom.From that perspective, a literary hypertext allows non lineal readings, through its links and connections with other texts, enhancing the student’s reception and leading it towards multiple and significant realities. In that sense, the literary work, in where several possible reading itineraries coincide all together, acquires an open character, losing its consideration of being close and concluded. Hereby, we specify the type of activities, works and reading mechanisms that the new curricular approach requires; ekphrasis, melopoiesis, and Literature in films, among other dialogic links, that are a reclaim for the reading process in students while strengthening their aesthetical reception skills. In the same way, the theories about the reader intertext, linked to the literary training of students and the development of their reading comprehension, set the standards of the teaching methodology in the classroom.

Artes y literatura en la LOMCE: mecanismos para la comprensión de lecturas plurales

The current curriculum in Compulsory Secondary Education within the LOMCE law evidences the existing connection between the different artistic expressions. Specifically in the literary subjects, it is aimed to promote the consideration of the links between Literature and the rest of arts (Music, Painting, Cinema…) as an expression of the human feelings, while analyzing and interrelating works, characters and plots from all the time periods.Aesthetics, Rhetoric, Poetry, Fine Arts, Musicology, Semiotic, the Comparative Literature, and Criticism, as disciplines interested in the foresaid pairing, have just joint their studies, examining, from a theoretical approach, the existing links and transpositions between arts. In the educational field, establishing analogies and intersections between arts is conceived as a process for understanding the literary works: the didactic use of the semiotic correspondences for showing an interconnected reality of multiple readings in the classroom.From that perspective, a literary hypertext allows non lineal readings, through its links and connections with other texts, enhancing the student’s reception and leading it towards multiple and significant realities. In that sense, the literary work, in where several possible reading itineraries coincide all together, acquires an open character, losing its consideration of being close and concluded. Hereby, we specify the type of activities, works and reading mechanisms that the new curricular approach requires; ekphrasis, melopoiesis, and Literature in films, among other dialogic links, that are a reclaim for the reading process in students while strengthening their aesthetical reception skills. In the same way, the theories about the reader intertext, linked to the literary training of students and the development of their reading comprehension, set the standards of the teaching methodology in the classroom.

Dolldonics: Doll Games as a Laboratory of Experimental Desire

This article considers doll games not as an exercise for reproductive heterosexuality but as a laboratory of queer sexuality. My main source is the literary hypertext The Doll Games by Shelley and Pamela Jackson. In this work, the unsexed doll body is described as the ‘sexless baton’ at the core of sex and penises are compared to dolls played with in the doll games of sex. The term dolldonics indicates a Deleuzian understanding of such objects used to prosthetically extend bodies and make desiring connections. They are not to be understood as fetishes in the psychoanalytic sense, inevitably pointing back to the phallus. There is a tradition of surrealist artists such as Hans Bellmer taking an interest in the recombinant possibilities of doll bodies. However, in the work of male artists, the queer potential of such polymorphous prosthetics has often been restricted by an erotisation of the doll as stand-in for the little girl, with whom it is so closely associated. In doll work by female artists with experience of being girls and playing with dolls, such erotisation of the girl-as-doll and doll-as-girl is less likely to occur, or at least occurs in different and more complex ways. The erotisation of doll bodies is based less on it standing in for the forbidden sexual object of the little girl, and more of the tactility of holding, manipulating, dismembering, dressing and undressing them. In doll games, the conventional distinction between desire and identification is undone, which confuses categorisations such as gender and sexual identity, and further subject/object, animate/inanimate and human/nonhuman.

Jak badać literaturę digitalną? O lekturze relacyjnej i figurach kinetycznych słów kilka

This article focuses on the specificity of the digital literature and the methods of researching the subject. It has been found that the digital literature is shaping the meanings already at the stratum of representations (texture) and user’s actions – the latter being an inscription of the discursive factor into the text. The meaning and poetics of digital texts are created by textualization of the text’s expression stratum and creation of meanings as a result of interaction between semantics of verbal layer, mobile semantics and sound system of texture as well as semantics of user’s actions. Digital meaning-producing strategies – which are designated by the atomization, kinetization and modulation of the text – have been characterized. As a result of research regarding poetics of digital messages it has been stated that the results obtained in the field of digital media enable the redefinition of previously developed thinking about the existing structures of the literary text. Interactive, kinetic, multi-semiotic figures and interactive, multivariate narration are widening the borders of poetics and methodology – they demand description of interactive and kinetic forms (hypertext literature), which create figures in interaction between various levels of transmission.

Judy Malloy's seat at the (database) table: A feminist reception history of early hypertext literature

Judy Malloy's seat at the (database) table: A feminist reception history of early hypertext literature

DESAFIOS PARA O ENSINO DA LITERATURA DIGITAL

O presente texto aborda alguns desafios enfrentados por pesquisadores e professores interessados no ensino de literatura digital em instituições formais de ensino. Inicialmente, apresenta-se um breve histórico da literatura digital, com ênfase nas primeiras experimentações realizadas ainda na década de 50, sob a tutoria de Max Bense na Alemanha. Em seguida, são apresentados, como exemplos de movimentos surgidos posteriormente, o caso da relação entre poéticas de vanguarda e a poesia digital, de um lado, e o caso da literatura hipertextual, de outro lado. Por fim, o texto apresenta os resultados de alguns projetos pedagógicos realizados com ensino de literatura digital em diferentes universidades europeias

Hypertext Revisited

This article proposes a new approach to literary hypertext, which foregrounds the notion of interrupting rather than that of linking. It also claims that, given the dialectic relationship of literature in print and digital-born literature, it may be useful to reread contemporary hypertext in light of a specific type of literature in print that equally foregrounds aspects of segmentation and discontinuity: serialized literature (i.e. texts published in installment form). Finally, it discusses the shift from spatial form to temporal form in postmodern writing as well as the basic difference between segment and fragment.

The Quest for Reading: A Reception and Aesthetic Response Criticism on Hypertext Fiction of Pride and Prejudice

The development of internet which provides hypertext information results in significant change in many aspects of life. Literature is not exceptional. The argument is therefore, since hypertext literature is presented in different mode, it must propose different kind of reading. Based on reception and reader-response or aesthetic response theories, this study finds out that there is a change in the way readers enjoy Pride and Prejudice. The process of reading become active experience because it allows the readers to take control of the narrative. The result is that hypertext Pride and Prejudice provides different meaning to the readers. The novel exists by providing not only the narratives but also informations on the narratives. The study finds out that there is a change in how the hypertext Pride and Prejudice wanted and needed. The hypertext does not come from the enjoyment in the process of reading the narratives but the satisfaction in getting the information on the narratives. It is not reading for pleasure that is traditionally offered by romantic novels but the satisfaction in the process of getting information on the text since self actualization in the readers is fulfilled.

TRAYECTOS HIPERTEXTUALES DE LOS TEXTOS LITERARIOS

El presente trabajo se propone establecer una relación entre las Teorías de la Recepción elaboradas por la Escuela de Constanza y las Teorías del Hipertexto Literario. En particular se profundiza la teoría de la respuesta estética de Wolfgang Iser, y su concepto de lectura como proceso de construcción del texto por parte del lector. A este propósito se exponen los conceptos de “repertorio”, che Iser explica equiparándolo al concepto de “contexto extra-textual” así como fue elaborado por la lingüística de la Escuela de Praga, y de las “estrategias” que componen el repertorio, estableciendo una estrecha relación también con las Teorías de la Percepción de la Gestalt (sobre todo con respecto al nexo esquema/corrección y fondo/primer plano). A continuación el estudio presta una especial atención a las Teorías que tratan el hipertexto literario, siguendo los estudios de Ted H. Nelson, George P. Landow y Jay D. Bolter, poniendo de manifesto sus principales características dadas por la multi-secuencialidad, por la relación activa que ése establece con el lector y, además, por su estructura modular, que se reconfigura a cada acto de lectura. El ensayo examina, como modelo textual, sobre todo el texto de Pinocho, en la versión castellana e italiana, que es analizado a la luz de los conceptos de “repertorio”, de “esquema/corrección” y de “fondo/primer plano”. El estudio concluye con una construcción de la plataforma de hipertexto de Pinocho, poniendo de relieve los lazos literarios que pueden determinar no sólo con la literatura europea y de las obras estadounidenses, sino también con otras experiencias literarias, relacionadas por ejemplo con el "nacimiento" y "muerte" de la marioneta. La conclusión de la obra tiende a enfatizar cómo las teorías de la recepción textual de anticipan y confirman lo que los teóricos, después, han elaborado sobre el hipertexto: los textos literarios requieren una lectura hipertextual, porque, como el hipertexto ellos proponen una serie de aplazamientos fuera del texto, es decir, a otros textos y documentos de diversa índole, y movimientos dentro del propio texto, creando de estra manera su carácter multisecuencial y multilineal.http://dx.doi.org/10.14572/nuances.v21i22.1626

New Media's New Literature

In 19941, Cuban poet and critic Victor Fowler visited Brown University, then a leading center for hypertext literature and virtual reality research. Fowler was intrigued by digital literature and n...

Thinking in hypertext: Interrupting the mindset of schooling

Abstract In this article I develop two narratives from a study of adolescents using digital technology: one group were students in an English class, the other group were participants in a digital literacy camp. Focusing on how the students responded to one of the literary hypertexts (Patchwork Giro, I highlight the differences between the two groups using Lankshear and Knobel's (2007) conception of Mindset 1 and Mindset 2 as a framework. I suggest some of the challenges associated with teaching digital literacy, and end with a description of wiki writing in a classroom, which offers a possibility for developing digital practices. Introduction Writing ... becomes a site of possibility, a place of 'as if' that works in multiple ways with, through, and beyond the text. For the writer and for the reader, they write and read as if the text can describe the reality of an event, an imagining, or a feeling; as if language did not remove us a step from it. Such contingencies broaden the possibilities for experiencing, acting, understanding, and creating. (Lute-Kapler, 2004, p. 88) This observation came from working with groups of women--adolescents to elders--as they created print narratives and memoirs. Through writing, the women discovered the subjunctive (the as if) spaces available through those genres. The familiar telling structures of narrative intertwined cultural history with personal stories. Our only interruption of these processes was to borrow a practice from Frigga Haug (1987) that entailed breaking apart the narratives into word lists of wishes, dreams, actions, and feelings (Luce-Kapler, 2004, p. 99). Fragmenting our work revealed a new level of meaning and highlighted how we could be lulled by the seemingly complete and transparent rhythms of narrative. In the years since, as I have introduced digital texts and writing to adolescents, the experience of working with literary hypertext has extended the possibilities for interrupting familiar genres. Hypertext challenges how we believe literature makes sense and the processes we use to create it. For instance, literary hypertext (e-literature) is usually constructed from discrete pieces of text and other media that invite readers to choose hyperlinks to continue their reading. The genre requires bringing together fragments in a meaning-making process that Marie-Laure Ryan (2004) equates with piecing together a jigsaw puzzle. (Sample literary hypertexts are available for reading at Eastgate.com. For example, see Michael Joyce's Twelve Blue, 1996.) This progression into e-literature has not been comfortable for me as I flounder at times in a process that feels strange and unproductive. In contrast, when I introduced the hypertext genre to adolescents through digital literacy camps at our faculty, they quickly engaged in reading and writing, experimenting, and teaching me details about the texts and software that I had not noticed. However, when I brought the same hypertexts to their classrooms it was a different story. Often it was as if the students were trying to bend the processes to make them fit familiar practices of schooling. And while they seemed to enjoy the opportunities, in some I sensed that this was only a pleasant interruption before they got back to the real work of schooling. What is it about structures of schooling that discourage thinking differently using new technologies, especially with adolescents who seem to embrace them outside the classroom? Can we challenge our curriculum structures and find spaces where possibilities can be expanded? To understand how educators can identify and create such opportunities, I want to examine two narratives of reading that occurred during my recent study of digital literacy: one took place in a high school English class, the other during one of our camps. …