Context and Aim of the Programme

The Digital Fiction International Network (DFIN) provides an arena for a new generation of scholars to collaborate on integral theoretical and analytical issues within digital fiction research, and profile pioneering approaches to the wider fields of literary studies, stylistics and narratology.

Scope

The scope of this DFIN project is limited to digital fiction - which, according to our DeFINition, is fiction that is written for and read on a computer screen that pursues its verbal, discursive and/or conceptual complexity through the digital medium, and would lose something of its aesthetic and semiotic function if it were removed from that medium.   

Context

In light of new research, the study of digital fiction has undergone a significant paradigm shift. Recent research has moved from a 'first-wave' of pure theoretical debate to a 'second-wave' of stylistic and semiotic analysis. While first-wave theory sought to understand digital fiction in terms of abstract post-structuralist models or evaluative and anecdotal descriptions, second-wave theory offers an explicit application of systematic methodological approaches. Close readings of digital fictions are slowly emerging (e.g. Bell 2007, 2009a forthcoming, 2009b forthcoming, Ensslin 2007, 2009 forthcoming, Ensslin & Bell 2007, Ciccoricco 2007, Laccetti 2007, Page & Thomas 2009 forthcoming, Pressman 2008, Slocombe 2008 forthcoming, Taylor & Pitman 2007, Van Looy & Baetens 2003) but are nevertheless relatively few in number.

While the theoretical intricacies of second-wave digital fiction theory have been well debated (e.g. Bell 2009b forthcoming, Ciccoricco 2007, Ensslin 2007), the field currently lacks coherence and consistency. This has resulted in an inconsistent utilisation of analytical approaches and accompanying terminology. With an emphasis on close reading, this collaboration harmonises second-wave theory by establishing clarifications, modifications and supplementations to current methods. Exploiting the latest research by the current generation of scholars, the outcome is a body of exemplary analyses substantiated by robust theoretical and terminological conclusions. It also informs the traditional stylistics toolkit (e.g. Wales 2001) by providing necessary additions to modernise print-based methods.

Summary of Principal Aims

• to develop a range of tools and associated terminology for digital fiction analysis
• to provide a body of analyses based on the close reading of texts
• to foster a collaborative network of academics working on inter-related projects 

Programme Outcomes

Specific outcomes of DFIN include:

• a more consistent understanding of approaches to digital fiction
• a systematic way of defining digital research in a way that is accessible to the wider research community (e.g. stylistics, narratology, literary theory, media studies)

Publications:

• co- and single-authored journal articles representing the work of the DFIN members 
• a conference poster detailing the results of the workshop, to be presented to the wider research community at appropriate conferences
• a publicly available web-based wiki, profiling cutting-edge approaches to digital fictions as well as the details of the DFIN workshop. The wiki includes hyperlinks to the material analysed and remains a 'live' document, facilitating ongoing collaboration
• Manifesto: 'DFIN Screed', which outlines the theoretical and methodological position of the DFIN

Significance of the Programme

The critical field surrounding digital fiction is currently experiencing a period of considerable flux and reflection. In May 2007, for example, the focus of the Electronic Literature Organization Annual Conference was 'The Future of Electronic Literature'. In December 2007, dichtung-digital, one of the leading journals in digital fiction research, published a special edition entitled 'New Perspectives on Digital Literature' (Ensslin & Bell 2007), which profiled current trends emerging within the field. DFIN will provide an arena in which innovative, methodical and productive analyses of texts can be developed and deliver essential general theoretical conclusions for the study of digital fiction as a whole.

The theory and analysis of digital fiction represents an important area of literary studies which is currently experiencing growing interest from the wider academic community. In April 2007, for example, the Poetics and Linguistics Association Narrative SIG hosted a Narrative and Multimodality symposium, during which many papers took digital narratives as their focus. An increasing number of academic posts are being created in digital literature and creative writing; most notably a Professorship and Readership in New Media Writing at De Montfort University. Associated New Media research is crucial to support this rapidly emerging field.

Description of Arrangements for the Interchange

Six scholars are involved in the DFIN project, each representing a particular facet of second-wave digital fiction research. Each participant's research has a sound theoretical basis, while also committed to the close reading of individual texts. Their approaches are congruous enough to be relevant, yet also sufficiently diverse to foster innovation.

Exchanges

Two cross-network international visits were undertaken during April and May 2009 to support the preliminary exchange of ideas. The four-day exchanges were scheduled four and five months into the project to ensure that some degree of exchange between DFIN members had already been undertaken.

The primary purpose of the exchanges is for the Principal and Co-Investigator to exchange information within and collaborate on mutual areas of research. The exchanges also secured and refined institutional support from relevant learned societies and publications. Both the Principal and Co-Investigator will deliver a research paper to the host institutions with a view to disseminating UK-based research to a wider international audience. In addition, the Principal and Co-Investigator will survey and examine digital fiction research outside Europe and publicise the findings to the rest of the network. Experience and discussion of current teaching practices, academic programmes and curriculum within digital contexts will provide a supplementary pedagogical context to the exchange. Documenting the programme and results of the exchanges, two co-authored exchange reports will be disseminated to the rest of DFIN.

The Principal Investigator, Dr Alice Bell, undertook an exchange hosted by Dr David Ciccoricco at the University of Otago, New Zealand. The two scholars have common research interests in the analysis of digital fiction within the field of narratology. More specifically, they are concerned with the reader's experience of the fictional worlds which are constructed by digital texts.

At the University of Otago, New Zealand, the Principal Investigator established the importance of the electronic book review (ebr) to DFIN and its outcomes. ebr is an online journal which specialises in the electronic future of fiction, poetry, criticism and theory. Dr Ciccoricco is a co-editor of the journal and is primarily responsible for the 'electropoetics' section, which publishes analyses and reviews of relevant works.

The Co-Investigator, Dr Astrid Ensslin, visited Dr Jessica Pressman at Yale University, USA. The two scholars share research interests in the semiotic analysis of multimodal digital fictions as well as New Media theory and culture.

At Yale, the Co-Investigator established the relevance of the Electronic Literature Organization (ELO) to DFIN. Dr Pressman is a former Associate Director and Programs Director of ELO, which promotes and facilitates the writing, publishing and analysis of electronic literature. The Co-Investigator also had access to the Electronic Fiction Archive, the Digital Humanities Research Centre and the University of California Transliteracies Project.

Workshop

Supplementing the cross-network exchanges, substantial preliminary discussions and tasks were undertaken by each member of DFIN. This research culminated in a three-day workshop during which ensuing responses and debates took place. In advance of the workshop, all participants provided: a digital fiction for DFIN participants to read; a brief biography of themselves and their research; a 500-word exposition of their theoretical approach.

As preparation for the three-day workshop, all participants prepared an analysis of a digital fiction to be presented at the workshop.  The workshop then profiled and debated current approaches, with a view to establishing facets in which each assists, supplements and complements the other(s). The workshop complemented extensive on-line activities by endorsing both individual texts and accompanying approaches within an environment of mutual academic understanding. DFIN has also established the foundations for ongoing research into digital fiction, and each participant undertook post-workshop collaborative writing.

The workshop took place from 17th to 19th August 2009. See the Workshop Schedule for full details.

References

Bell, A. (2007) ‘Do You Want to Hear About it?’ Exploring Possible Worlds in Michael Joyce's Hyperfiction, afternoon, a story' in M. Lambrou & P. Stockwell (eds) Contemporary Stylistics. London: Continuum.

Bell, A (2009a forthcoming) 'The Importance of Possible Worlds for Hypertext Fiction (and Beyond)' in R. Page & B. Thomas (eds) New Narratives: Theory and Practice. Lincoln, NE: University of Nebraska Press.

Bell, A. (2010 forthcoming) The Possible Worlds of Hypertext Fiction, Palgrave Macmillan.

Ciccoricco, D. (2007) Reading Network Fiction. Alabama, USA: University of Alabama Press.

Ensslin, A. (2007) Canonizing Hypertext: Explorations and Constructions. London: Continuum.

Ensslin, A (2009, forthcoming) ‘From (w)reader to breather: Cybertextual de-intentionalisation in Kate Pullinger’s Breathing Wall' in R. Page & B. Thomas (eds) New Narratives: Theory and Practice. Lincoln, NE: University of Nebraska Press.

Ensslin E. & Bell, A (eds.) (2007) 'New Perspectives on Digital Literature: Criticism and Analysis'. Special Issue of Dichtung Digital, 37. Available online at URL: www.dichtung-digital.de  

Laccetti, J. (2007) 'Narrative Beginnings in Hyperfictions' in B. Richardson (ed), Anthology of Narrative Beginnings. Lincoln, NE: University of Nebraska Press.

Page, R. & Thomas, B. (eds) (2009, forthcoming) New Narratives: Theory and Practice. Lincoln, NE: University of Nebraska Press.

Pressman, J. (2008) 'Modern Modernisms: Young-hae Chang Heavy Industries and Digital Modernism' in S. Yao, M. Gillies & H Sword (eds), Pacific Rim Modernisms. Toronto: University of Toronto Press.

Slocombe, W. (2008 forthcoming) Special Issue of Genre on New Media. 23.   

Taylor, C & Pitman T (2007) Latin American Cyberliterature and Cyberculture. University of Liverpool Press.

Van Looy, J. & Baetens, J. (eds) (2003) Close Reading New Media: Analyzing Electronic Literature. Belgium: Leuven University Press.

Wales, K. (2001) A Dictionary of Stylistics (second edition) London: Longman.