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>
>Subject: CFP: Digital Literatures in Europe: 
>State of the Art (3/31/06; journal issue)
>
>From: "Ana Pano" <[log in to unmask]>
>
>Call for Journal Submissions
>
>RiLUNe - Review of Literatures of the European Union
>RiLUnE (http://www.rilune.org) is a refereed 
>bilingual journal publishing scholarly articles 
>which examine the development of a European 
>cultural and literary conscience.
>
>
>
>For its 5th monographic issue, we are now 
>calling for articles on the topic "Digital 
>Literatures in Europe: State of the Art". 
>Articles can be in any of the following 
>languages of the European Union: French, German, 
>English, Italian and Spanish.
>
>
>
>Deadline for abstracts (500 words): March 31, 2006
>Deadline for articles: June 15, 2006
>
>
>
>
>
>Digital Literatures in Europe: State of the Art
>
>According to the Electronic Literature 
>Organization, digital literature refers to 
>´works with important literary aspects that take 
>advantage of the capabilities and contexts 
>provided by the stand-alone or networked 
>computerª. The technical sophistication of 
>digital literature is inevitably related to 
>literary and artistic aesthetics which, like the 
>European avant-gardes, come across 
>experimentation on narrative and poetic forms. 
>Digital works concern multiple procedures and 
>involve poems and stories that are generated by 
>computers, hypertext fiction and poetry, random 
>exploration and reading, kinetic writing, 
>interactivity, visualization, etc.
>
>In Europe, authors like Philippe Bootz set the 
>origin of digital literature around 1959, when 
>the first experimental texts based on 
>combination and variation were written. After 
>1980, Jean-Pierre Balpe created the first 
>automatic generator. From that moment, the basis 
>of digital literature or cyberliterature are 
>developped thanks to works produced with 
>automatic generators (i.e. Action PoÈtique n. 
>95, 1981 and ALAMO founded in 1981, together 
>with animated poetry or e-poetry published on 
>the review Alire). Literary hypertexts or 
>hyperfictions will appear on the Web few years 
>later. Today this kind of works are developping 
>fast thanks to new software that allows both 
>grafic design and animation to be associated 
>with verbal, visual and sound aspects of texts, 
>with the aim of creating dynamic and interactive 
>narratives. Moreover, collaborative writing 
>experiences like Websoap or MOOs (Multi-Users 
>Dimensions Object-Oriented), have been 
>developped on the Internet, anticipating the!
>   Weblogs and becoming spaces for new literary and creative experiences.
>
>Many of the studies on Digital Literature 
>consider both the creative possibilities and 
>innovations of this kind of narrative and the 
>implications of the digital dimension on writing 
>and reading. It is time, for us, to discuss and 
>develop a general and dynamic perspective that 
>will consider not only the evolution of the 
>technical aspects but also the state of the art 
>of those works, from a literary and thematic 
>point of view. It should take into account the 
>formal, technical and esthetic tendences that 
>they are following and the evolution of their 
>language, the collaboration among authors and 
>the question of the hybridisation and 
>transformations of traditional genres and 
>geographical frontiers on the Web. In this fifth 
>number of RiLUnE, we hope to consider all these 
>questions in order to compare points of view on 
>technology and literary and artistic creation 
>within a European perspective.
>
>For this number we will accept proposals for 
>papers that will explore works by European 
>authors (automatic generators, e-poetry, 
>hyperfiction, weblogs, etc.) so to outline 
>similarities and differences among creative 
>experiences both on the level of expressive 
>modalities and themes. Considering the 
>inter-relation between writing, graphism and 
>computer science and the status of images, 
>sounds and animation in the texts, we will 
>discuss objectives and values of digital 
>literature.
>
>Ana Pano
>
>Submission guidelines:
>Please submit a paper copy (together with a 
>digital one, i.e. cd-rom or floppy-disk) or 
>email your proposal to the Editorial Board. The 
>texts shall be MS Word-compatible (in case a 
>different word-processor is employed, the text 
>shall be saved in a compatible format) and about 
>20.000 characters long (spaces and notes 
>included).
>Articles are accepted in any of the following 
>languages of the European Union: French, German, 
>English, Italian and Spanish. Every article 
>shall be accompanied by two abstracts in English 
>and French, each one not exceeding 750 
>characters (spaces included), together with the 
>translation of the title in these two languages.
>Four or five keywords shall be submitted to the 
>Editorial Board together with every article.
>A short resume of not more than 200 characters 
>shall be attached to the article in either 
>English, French or Italian. The affiliation 
>which authors wishes to have under their names 
>shall be indicated at the end of the article, in 
>brackets, next to the name of the author (family 
>name first).
>
>
>
>Submit abstracts and papers to: [log in to unmask] <mailto:[log in to unmask]>
>
>Address questions to the editorial board: 
><mailto:[log in to unmask]> [log in to unmask] 
><mailto:[log in to unmask]>
>For further information, visit: www.rilune.org

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