Determining literariness in interactive fiction

The authors of interactive fiction are beginning to demonstrate a concern for the literariness of their product. Literariness, as defined by Shklovskij and the Russian Formalists, is the quality of making strange that which is linguistically familiar, a quality Shklovskij termed ostranenie. By applying the principle of ostranenie, as well as other well-known literary principles, to the most serious interactive fictions, we can determine if this new genre exhibits the features of literariness. A study of Mindwheel, Brimstone, Breakers, A Mind Forever Voyaging, Portal, and Trinity suggest that the literariness of interactive fiction comes out of its concern both for making strange what is familiar and for making familiar what is strange.Neil Randall has published several role-playing games, and is working on a full-length critical study of interactive fiction. He is currently assistant professor of English.     

信息时代的文学图景与生存方式——论电影《阿凡达》和《幽灵公主》

动画与人们的审美情趣不断互动契合,业已形成一种具有一定独立性的文类,在世界范围内先造成很大影响,且正朝着纵深领域发展,构成当今视觉文化的重要组成部分。文章通过比较《幽灵公主》与《阿凡达》,探讨这两部作品对人类生存状况的深切关怀,探讨作者创作的"动机"。并且,从动画与文学的双重视角予以考量,以试图揭示我们所处时代的文学图景与生存方式。     

科学的艺术作品:科普作品的文学性与科学性

本文从科普的定义出发,将科普作品当作一种具有普及功能和社会教育功能的文本。为了实现其社会功能,优秀的科普作品必须具备科学性与文学性的结合。本文分析探讨了文学性与科学性在科普作品中的共存关系,即科学的内容、一般、抽象、理性,以及文学艺术的形式、个别、形象和感性,通过融合、此消彼长,在科普作品中达到某种程度的融合和统一。正是科普作品兼具科学和文学的两个属性,才使得科普作品既是一种不完全附属于科学的独立存在,同时也是一种有别于一般文学作品的独立存在。