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Michael Joyce
No full textMichael JoyceWriter and official at the Bank of England. Born in Saltburn, Yorkshire, Michael Joyce went to sea for four years with the merchant navy from 1919. On his return he worked as an official at the Bank of England (where he remained for many years) in London. In 1927, he married the daughter of the publisher of the Athenaeum. He contributed to literary periodicals from 1929, and a translation of his story "˜Perchance to Dream' appeared in the Frankfurter Zeitung in 1931 bylined to James Joyce. Incensed, JJ threatened the newspaper with litigation. Michael Joyce subsequently published popular histories such as Ordeal at Lucknow (1938) and biographies of Edward Gibbon (1953) and Samuel Johnson (1955) among others as well as the supernatural tale Peregrine Pieram (1936). His 1935 translation of Plato's Symposium was for many years reprinted in the Everyman's Library. John Simpson</p
afternoon, a story de Michael Joyce : vers une hypertraduction ?
No full textInternational audience« Possessed of two minds, my own and its augmented silicon, I began the slow process of learning to see this not so newly doubled self as one » . C’est en ces termes que Michael Joyce décrit son expérience d’écriture dans un environnement numérique, soulignant l’externalisation de la mémoire, laquelle conduirait au dédoublement de soi. L’écriture — pratique appareillée qui par définition fait appel à un support et à un outil prosthétique qui prolonge la main du scripteur —, et de fait la traduction, sont toujours déjà pluralisées par le médium, marquées par une altérité intrinsèque que Michael Joyce signale jusque dans le titre du recueil d’essais dont est tirée cette citation : Of Two Minds. La question du support est toutefois centrale ici, car il s’agit moins d’un support scriptural proprement dit que d’un subjectile. « Le subjectile n’a pas d’autre consistance que celle de l’entre-deux » — telle est l’une des définitions qu’en donne Derrida, faisant incidemment écho à la manière dont Michael Joyce théorise sa propre activité d’écriture : Print stays itself, electronic text replaces itself. With electronic text we are always painting, each screen washing away what was and replacing it with itself. The shadow of each dead letter provides the living form of what replaces it. Si traduire est souvent une affaire de choix, de partis pris, et donc de mises à l’écart, d’exclusion, d’excision dans les possibles d’un texte, la littérature numérique, dans sa dynamique computationnelle et les combinatoires qui en découlent, contraint le traducteur à une ouverture maximale et reconfigure la dynamique même du traduire. « There is no simple way to say this » : rien de simple, en effet, comme l’annonce un des écrans à l’ouverture d’afternoon, a story de Michael Joyce, première hyperfiction à voir le jour en 1987, puisque tout sans arrêt se dédouble, se chevauche dans un processus de traduction permanente ; un « même » écran, pris dans la fuite du texte, non seulement se traduit déjà dans un autre qui de clic en clic le remplace, mais figure aussi sa propre traduction intralinguistique dans un tremblé qui l’altère, le floute, rend ses contours problématiques au profit d’un entre-deux mouvant dans lequel se perd le text
Michael Joyce, 23rd Annual ODU Literary Festival
No full textMichael Joyce is perhaps best known as the originator of an art form. The New York Times called his afternoon the granddaddy of hypertext fictions, while the Toronto Globe and Mail said that it is to the hypertext interactive novel what the Gutenberg Bible is to publishing. Two long hyperfictions, Twilight, A Symphony, on CD-ROM, and Twelve Blue, on the World Wide Web, were both published in 1996 by Eastgate. Three shorter hyperfictions include WOE, Lucy’s Sister, and Lasting Image. An earlier print novel, The War Outside Ireland, won the Great Lakes New Writers Award in 1983. He also has published two collections of essays— Othermindedness: the emergence of network culture (2000) and Of Two Minds: Hypertext Pedagogy and Poetics (1995). He is currently associate professor of English and director of the Center for Electronic Learning and Teaching at Vassar College in Poughkeepsie, NY
Fiction et hypertexte : Michael Joyce, Foucault, in Winter, in the Linnaeus Garden, une théorie du fragment imagée
Get PDFLe numérique offre de nouvelles approches créatives, capables d’enrichir l’analyse et la théorie littéraires. Michael Joyce, reconnu pour ses œuvres littéraires numériques construites sur le principe de l’hypertextualité, développe, dans son dernier roman Foucault, in Winter, in Linnaeus Garden, un roman épistolaire imprimé. Il imagine la correspondance qu’aurait écrite Michel Foucault lors de son épisode professionnel en Suède, en 1956. Or, ses expériences littéraires sur logiciels ont profondément inspiré l’écriture de ce roman et sa composition.Digital technology allows literary analysis and theory to develop new creative approches. Michael Joyce, better known for his works on electronic literature built on hypertextuality, developed an epistolary printed novel in his last book Foucault, in Winter, in Linnaeus Garden. He imagines letters that the French intellectual Michel Foucault would have written during a professional episode in Sweden. His literary experiments with software have deeply inspired the writing of this novel and how it is composed
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Through the Portal, and What Michael Joyce Found There
Get PDFThrough the Portal, and What Michael Joyce Found There
Beyond computers, what holds electronic literature together? To borrow a phrase from a mythical quilt, is it more than merely a hopscotch through historical moments (Jackson 1995)? Has the field been faithful to its literary lineage since its inception? Or is fidelity the wrong frame entirely amid the play of promiscuous linkage (Moulthrop 1991)? How much of electronic literature is actually electronic literature by its own definition (Hayles 2007) – or any of its subsequently organic born-digital definitions for that matter? (Compare, for instance, Cayley’s literal art of networked and programmable media [2012] or Bell et al.’s media-specific framing of verbal, discursive, and conceptual complexity [2010].) Finally, how might a return to 21st century literary texts in print help us answer these questions?
After all, some print works are not only at home – formally and ideologically – amid the (un)continuity of electronic literature, they also tell us more about the identity of the field itself. In this paper, David Ciccoricco reads out from the figure of the portal, which features prominently in Joyce’s later print novels and collaborations, and suggests – against more common reception narratives – that hypertextuality is incidental rather than integral to the author’s poetics, serving as just another way of seeing, and of movement, in pursuit of literal art (Cayley 2004) across media
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Enformasyon Bilimlerine Fütüristik Bir Yaklaşım
Get PDFIn the Information Age, the amount of unique information created every year reaches a level high enough to fill the American Library of Congress 37,000 times and 92% of this bulk is recorded on magnetic media. For the upcoming younger generation, information recorded on paper is “out of coverage area.” They tend to reach information on the spot, via some intelligent informational agents. Thus, they think information that cannot be accessed in increasingly shorter periods of time is not worth accessing. Traditional functions, like presentation of information, trusted information storage, maintaining authenticity and conservation, expected to be fulfilled by information professionals, are becoming increasingly electronic focused, in parallel to the changing world. The level of technical information infrastructure required to fulfill these functions in an electronic environment, on the other hand, has reached a level that requires information sciences to turn into an “information engineering.” Setting out from these changes, this paper questions the ratio of technological aspects to be taught during the education of information professionals and concludes that the place that this education should take place should be reconsidered
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