Journal articles on the topic '1873-1939 Criticism and interpretation'

The article discusses outstanding interpretations of the works by F. Nietzsche as represented in Polish educational thought during the “Young Poland” period and the following interwar period. The study aims at elucidating the pedagogical dimensions of Nietsche’s idea in the interpretation of the two periods and at identifying the space within which the concept of the author of Thus spake Zarathustra still remains topical and current. The section devoted to the “Young Poland” period includes an analysis of Jan Kurnatowski’s book Nietsche. Studia i tłumaczenia [Nietzsche. Studies and translations], the one and only work of the period that extracts from the output of the German thinker its strictly pedagogical reflections. The next issue to be presented is a discussion on the journalistic writing that was engaged inNietzschean themes that would be of interest to the present-day pedagogy of culture. Interpretation trends that aimed to discover a universal remedy for the crisis in culture and humanity in the works of the author of Untimely Meditations turned out to be dominant at the time. An approach to the interpretation of Nietzsche’s thought in a wide context of social and cultural interactions made it possible to conclude that the category of Bildungsphilister, castigated by the philosopher, reaches much further beyond just criticism of the contemporary model of education due to the tenability of the notion of Bildumg as the accumulation of cultural capital as it was viewed by Pierre Bourideu. In conclusion of the discussion on the modernist period, the author presents postulations that indicate a need for a shift in the reception emphasis towards directions hitherto unexplored. The section devoted to the interwar period presents the interpretation of the pedagogical thought of Nietzsche presented at the inauguration lecture (on the occasion of Antoni Bolesław Dobrowolski’s acceptance of the chair of pedagogy at Wolna Wszechnica Polska [Free Polish University]) delivered by the professor. The presentation is followed by a discussion on the different approaches presented in various pedagogical encyclopaedias and in Ludwik Chamaj’s Kieruki i prądy pedagogiki współczesnej [Trends and directions in modern pedagogy]. The latter approaches present Nietzsche as an instigator and a prime mover in contemporary intellectual currents and trends and discuss his influence upon individual philosophers, extracting from his philosophical output the notions of “individualism”, “criticism of the traditional educational system” and “irrationalism”. The journalistic writings under investigation fit well into this particular interpretative trend. The discussion on the interwar period is complemented with a reference to a booklet written by Stanisław Besser and entitled: Bohaterowie myśli. Nietsche i Weininger [Heroes of Thought. Nietzsche and Weininger] and an analysis of the article written by Marian Wachowski Wspomnienia z pism pedagogicznych Nietzschego i Grundtviga [Pedagogical reflections in the writings of Nietzsche and Grundtvig], being the only Polish contribution to the discussion on the series of lectures by Nietzsche Ueber die Zukunft unserer Bildungsanstalten

The Russian translation reception of Robert Burns's poem “Who is that at my bower-door?..” (1783) is for the first time considered in the article. It is emphasized that the comic work did not attract the attention of Russian translators until 1862, when the unsatisfactory interpretation of V. D. Kostomarov, deprived of the emotionality of the English original, came out. The results of the analysis of translations of the poem created by M. N. Shelgunov (1879), T. L. Shchepkina-Kupernik (publ. 1936), S. Ya. Marshak (1939), S. Sapozhnikov (publ. 2014), E. D. Feldman (2017), A. V. Krotkov (publ. 2018) are presented. The perception of Burns’ work in Russian literary criticism and literary criticism is comprehended. In particular, numerous reviews and studies are analyzed (A. T. Twardowski, K. I. Chukovsky, E. G. Etkind, T. B. Liokumovich, R. Ya. Wright-Kovaleva, A. Bobyleva), caused by S. Ya. Marshak translation, who, despite all his liberties, preserved the atmosphere of a lively conversation between two people, and emphasized their intonational, emotional and gender differences. It is noted that, having entered into a polemic with S. Ya. Marshak, who made Burns unnecessarily classic and stylistically “smooth”, modern translators created interpretations in the spirit of courteous poetry, largely devoid of the aesthetics of the original, its unique melody.

The article examines the attitude of philosopher, poet, and aesthetician Aleksandr Gorsky to the personality and legacy of A.M. Gorky. It outlines the main directions of Gorky’s perception and interpretation by Gorsky. The article argues that Gorsky highlights vitality and projectivity of Gorky’s creative thinking, and considers him a consistent immortalist. The focus is on Gorsky’s unpublished work “Overcoming Faust” (1939–1940), a typical example of philosophical criticism that uses philological methods of analysis. Gorsky examines Faustianism through the prism of the rejection of individualism, which is specific for Gorky’s work. Considering the desire for knowledge and action as the defining feature of the Faustian consciousness, Gorsky notes that this desire is constrained and limited by the fact of human mortality and the recognition of the omnipotence of nature. The fact that Faustianism does not aim at overcoming death and eventually comes to terms with with it, allows Gorsky to see Faustianism as a bourgeois type of consciousness. Instead, Gorky, by standing against petty-bourgeois passivity in his work, raises the question about the means to overcome death. Gorky’s early fairy tale “The Girl and Death” is interpreted by Gorsky in the context of the development of life-affirming consciousness that overcomes death by the power of love and devotion to the common cause.

Prompted by the investigative journalist Gitta Sereny's biography Albert Speer: His Battle with Truth, two recent productions, Esther Vilar's Speer and David Edgar's Albert Speer, have set out to explore the reputation of Hitler's architect and later Minister of Armaments and War Production, Albert Speer, the only leading Nazi to acknowledge his guilt at the Nuremberg Trials. The plays, like the biography, are concerned with the extent of Speer's knowledge of the ‘Final Solution’ during his career in the Nazi hierarchy, and consequently with the integrity of the stance he adopted at Nuremberg and thereafter – that is, of his claim of guilt by association and omission rather than by active participation. In her biography, Sereny claims that as a result of her association with Speer he eventually acknowledged his guilt to her, and was repentant. But Nick White believes that the evidence – much of it unearthed by Sereny herself – suggests otherwise, and that Sereny had failed to acknowledge that between 1978 and his death in 1981 Speer consistently deceived her about crucial aspects of this evidence. How successful are Vilar and Edgar in their quite different dramatic sifting, not only of the public persona of Speer, but also of the interpretation granted their subject by the biographer upon whom their plays, to a lesser and greater degree, depend? Nick White has taught at City University, London, and his PhD dissertation, ‘In the Absence of Memory? Jewish Fate and Dramatic Representation: the Production and Critical Reception of Holocaust Drama on the London Stage, 1945–1989’ (1998) has been followed by a companion volume of criticism, articles, and letters, The Critical Reception of Holocaust Drama on the British Stage, 1939–2000.

This text is about one of the longest processes of political communication, which, decades on, influences politicians of various generations of the Central, Eastern and Western Europe, contents of media and self-awareness of the audience. The process isn’t over yet, this is obvious not only from the document adopted by the EP but also from an international political rhetoric. Analysis of consequences of the Molotov-Ribbentrop Pact signed on 1939 in media (D’39Pact) and related national and international decisions is the axis of information conflict between the East and the West concerning thousands of fates. Those thousands of people had and still have different historical narratives – some people justified the Pact and implemented it, others were fighting for the elimination of its consequences, yet others fell victims to it, with a death toll estimated in the millions. But not everybody’s narratives are based on true arguments.Let’s look at the way the system of propaganda collapsed and the public opinion was transformed in countries of Central and Eastern Europe in 1988-1989. Moving from a lie to (hopefully) the historical truth. Review of consequences of the Molotov-Ribbentrop Pact was the main axis of such transformation (protection of environmental and cultural valuables, choice of one’s viewpoint, legislative requirements and other rights were contextual aspects of this axis). During this period in the previously mentioned region the control of public space was on the decline.This view will be based on a single thematic discourse: the provision of consequences of the 1939 Treaty of Non-aggression between Germany and the Union of Soviet Socialist Republics and criticism in communist model media of Lithuania and neighbouring countries. It may be called D’39Pact.D‘39Pact in general has several narratives (it may also be seen from the EP Resolution), but taking into consideration the interpretation of Jurgen Habermas’s Communicative Action, the analysis of transformation of 1988-1989 two of them would suffice, one of which is that of the authorities of the USSR and the other one – that of its opponents. Let’s call opponents USSR dissidents, protestors, underground press (samizdat) and press of public movements which was published legally.Narrative of the USSR authorities: the treaty was the inevitable and no annexes (secret protocols) exist.Narrative of the opponents: based on secret protocols of the treaty, the USSR and Nazi Germany divided the countries and destroyed their political, military, cultural elite and finally – their population of various social layers.Medias, as the main participant of the public space, most clearly disclose the collision of such narratives and transformation in D‘39Pact. The purpose of the article is to discuss the circumstances of transformation of MMPT from the historical perspective and of the public space and come across the factors, which influenced the strongest role of MMPT interpretative accomplishments. Considering the way out of the “labyrinth” regarding the D’39 Pact, we see some similarities with the situation that now exists in Russia.

This paper aims to present an analysis considering the works “The Lawless Roads” (1939) and “The Power and the Glory” (1940) by Graham Greene from the perspective of perceptions and representations of the Mexican people constructed by the author. In order to do so, the paper is grounded on theories of post-colonial literary criticism and travel literature, specially regarding topics on identity, otherness and hybridism, in order to make a brief observation on the perception and representation of the Mexican by Greene, particularly regarding the role of the eyes of the Mexicans, with the purpose of outlining his personal point of view that is universalizing towards the native and of framing how he characterizes the Mexicans from a Eurocentric and colonial perspective. This research adopts qualitative, interpretative and documental methods in the proposed analysis and points towards the prevalence of perceptions and representations of the Mexicans that set forth a hostile gaze over the Mexican natives.

At the turn of the millennia, the politically unbiased analytical thought of the world describes the total humanitarian entropy, which has unsafely plunged the theory and practice of art into a deep crisis. Accordingly, academic scientists, and primarily philosophers and culturologists, as well as art historians who have not lost their independent critical thinking ability, are consolidating into an ever-increasing front of those analysts who resist the current situation, because they tend to see behind the superficial statistics of a sharply increasing number of glossy magazines, exhibition reviews and other printed materials, including circulations of ordinary booklets that massively accompany any art projects of all kinds of galleries or public art actions, which go to significant investment funds from private foundations and centers — the premature death of art criticism, which, in the figurative expression of James Elkins, has become “like a trackless thicket, tangled with with unanswered questions”. Artistic practitioners, accustomed to servile survival in the conditions of the global art market, which imposes the rules for the production of a creative product solely in their own interests, are in a state of crisis no less severe than criticism. Manipulative interpretations of the concept of publicity, as well as the orientation of public art towards the function of socio-political and socio-educational regulatory action, like a mediator between society and power, legitimizes and strongly supports the phenomenology of things. Without a transcendental goal, the reification of the community’sthinking leads to a slide of creative consciousness and formal vocabulary of art expression to the level of kitsch, which was sharply criticized back in 1939 by Clement Greenberg. The fetishization of an art object as a commodity contributes to the steady cultivation of an instrumentalized consciousness by artists. Public visual practices, formally inheriting the idea of dissolving in the stream of everyday life, first proclaimed by the historical avant-garde, actually dissolve in consumerism, turning art objects into objectified political and sociocultural invectives, or, according to D. Lukacs’ terminology, such invectives that have undergone the process of reification. Meanwhile, visual public projects also actively use conceptualized clichés in the form of neutral abstract design objects, where the dominant criterion of conformity to the spirit of the times as quasi-modernity is the uncommonness of an innovative solution to lexical expression. The phenomenology of a thing legitimizes any experimentation, but it is not able to overcome the deepening crisis of theory and practice, drawing the cultural and artistic existence of society into a prolonged state of hysteresis. Analysts see the only way out of this situation in the return to the culture of the theory and practice of the traditions of Kantian-Hegelian philosophy, and in particular the postulates of transcendental aesthetics.

In 2016 during the inventory and transportation of the archaeological finds from temporary archaeological storage at Pheophania to the present-day storage facility of the Institute of Archaeology, the materials of the excavations of the expeditions of 1980 and 1985 were selected and processed. The excavations and surveys were conducted by expeditions under the lead of O. G. Shaposhnikova and D. Ya. Telehin on the territory of the Starobilsk district of the Luhansk region. The surveys in 1980 were conducted at only two locations located close to each other — the settlements of Aidar-Bila and Pidhorivka. Aydar-Bila. Because the location plan is missing (it is also missing from the 1986 report), it was not possible to locate the settlement on the map. However, it can be assumed that the multilayered settlement of Aydar-Bila is located in the eastern part of the village Pidhorivka of the Starobilsk district of the Lugansk region, on the low floodplain terrace of the right bank of the river Bila (the right tributary of the Aydar river). At the location of the settlement, the width of the valley of both rivers is 2.23 km. In 1986, additional research was conducted and the site was named Hyrlo Biloyi. In fact, this name is more common and widely used in the scientific literature. The settlement is multilayered, as indicated by the code on the finds. The largest number of finds is associated with layer 4. Given the vertical distribution of the finds, it can be assumed that there are at least three episodes of occupation in the history of the settlement, two of which, given the peculiarities of the finds, occurred in the Neolithic Period and one in the Late Bronze Age. Pidhorivka. The multilayered settlement of Pidhorivka is located on the off-shore terrace of the right bank of the Aydar River, at the point where the coast recedes to the west, thus forming a sufficiently wide floodplain, on which the depressions of the old-aged lakes are noticeable. In total, about 10 different settlements were found within the specified floodplain, 5 of which are known from the research of S. O. Loktushev in 1939. In 1963, the Pidhorivka settlement was investigated by V. M. Gladilin, however, no report or publication on the results of the research appeared, as correctly pointed out by Y. G. Gurin in 1998. It is only known that the expedition V. M. Gladilin cleaned up the coastline of the Aydar River, where the Neolithic materials were discovered. Some findings revealed by the expedition led by V. M. Gladilin appear in the monograph V. M. Danilenko as an example of the material culture of the Azov culture he identified. In 1980, the expedition of the Academy of Sciences of the USSR under the direction of O. G. Shaposhnikova laid out an excavation area on the Pidhorivka settlement. The results of these studies are unknown (missing report, field documentation, and findings). In the same year an expedition led by D. Y. Telegin excavated a trench with a total area of 5 m2. Later (in 1984), the site was explored by an expedition under the general guidance of K. I. Krasilnikov and Y. G. Gurin. The total number of findings revealed as a result of the research by O. G. Shaposhnikova reached 295 units. The material analysis demonstrates the settlement is multi-layered. The upper horizons with the Middle and Late Bronze Age materials being the latest. In the conditional horizon of 0.8/0.9 m, a rather informative fragment of the Late Copper Age vessel was found, and at the same time, it is accompanied by a flint complex, which has the appearance of the Early Copper Age or Neolithic. The artifacts found in the conditional horizons of 0.9/1.0—1.1/1.2 m appear to be relatively «pure» in that the cultural and chronological terms clearly define their affiliation with the Early Neolithic Period and allow them to be associated with the Lower Don culture/Nizhnedonska culture of the Mariupol Cultural and Historical Area. At the same time, the presence of earlier artifacts, such as a conical single-platform core and multiple-truncated burin, makes one more cautious to interpret the complexes. Both the core and the burin look more logical in the flint complexes of the lower horizons of the site. In this sense, it is important to pay attention to the description of the stratigraphic section of the excavation area 2 of the settlement Pidhorivka, presented by Y. G. Gurin in a monograph about the Early Copper age sites of the Siversky Donets Basin. It states that, at a depth of 1.7/2.0 m and below, the layer of floodplain alluvium contains «Mesolithic materials». Y. G. Gurin did not publish the materials themselves that he claimed were from the Mesolithic era. In 2006, O. F. Gorelik issued a publication dedicated to the interpretation of the materials of the lower layer of Pidhorivka. In this work, he linked the affiliation of the flint complex with the early stage of Donetsk culture, and considered the site one of the centers of the Mesolithic industries with the yanishlavitsa type of projectile points. This conclusion is based on the similarity of the materials of the lower layer of Pidhoryvka with the flint complex of the site Shevchenko hamlet, one of the features of which is the presence of a yanislavitsa type of projectile point. In 1999, the materials of the site Zelena Hornitsa 5 were published, which is located on the second floodplain terrace of the lake on the left bank of the Siversky Donets River. In the material culture of this site, even if there are multiple elements, they in no way affect the overall situation. The complex of projectile points of the site consists of trapezes, a yanislavitsa type, points with truncated edges, and so on. The presence of the collapse of the stucco vessel along with these flint products, gave rise to criticism of the idea of O. F. Gorelik about the Mesolithic character of complexes with a yanislavitsa type of projectile points. Later V. O. Manko, in a more detailed form, questioned the theory of O. F. Gorelik. To the present day we can state that there has been some stagnation in this issue. The surveys in 1985 were conducted at the valley of Aidar river from v. Lyman to v. Losovivka. In this area, sites lots have been found, which in chronological terms date back to the Paleolithic—Medieval times. For this reason, we believe that the introduction into scientific circulation of even a small amount of archaeological materials, allows the creation of a more complete picture of the processes that took place in the basin of the middle stream of the Siversky Donets River during the Neolithic—Copper Age.

This article is the result of the research that discusses about the role of Hjalmar Schacht in building the German economy in 1933-1939. The main problem that is studied in this article is "How was the role of Hjalmar Schacht in order to built the German economy in the period 1933-1939?". The method used in this study is historical method consisting of four steps of activity, there are; heuristics, source criticism, interpretation, and historiography. Based on research studies that have been done, Hjalmar Schacht had a very important role in the development of the German economy after World War I. In order to rebuild the German economy, Schacht issued many policies, among others; (1) Addressing the problems of unemployment, (2) Funding of German industries, and (3) Addressing the needs of industrial raw materials. However, these policies were issued not only to improve the German economy, but it was planned to rearm the German military in preparation for a larger war in 1939.

South Kalimantan is a province where the majority of the population holds strong Islamic teachings. This is evidenced by the large number of ulama who are scattered in almost all areas in South Kalimantan, therefore the Banjar community is known as a strong community holding the religion of Islam because of the existence of ulama who have influence and a large role in society. The research objective was to describe the biography of a ulama from Martapura named KH Muhammad Rosyad and to explain his role as a ulama in Martapura Subdistrict Kota Banjar Regency in 1939-2000. The research method used is the historical method. The steps taken in this research are heuristics or data collection through the interview method. The second stage is data criticism. The third stage is interpretation, and the last stage is historiography, namely writing the research results. The results showed that KH Muhammad Rosyad was born from the marriage of KH. Ahmad Zaini and Hj. Noorjanah on April 15, 1939, and died on Thursday, June 8, 2000 at the age of 63. The role of KH Muhammad Rosyad in preaching is that he opens a routine recitation every Wednesday night. He is also a lecturer at the Darussalam Martapura Islamic Boarding School, Datu Kalampayan Bangil and the College of Sharia Sciences. He is one of the scholars whose words and actions are in harmony in fostering the ummah, this is evidenced by him establishing a financial institution called BMT Al-Karomah Martapura Sharia Cooperative which still exists today with the aim of helping the economy of the people, especially the people of Martapura.

«Zhinochyj Gholos» magazine, which was published from 1931 to 1939 in Lviv and was the official press body of the NGO Women's Union of Ukrainian Working Women, is investigated in the article. The main objective of the study is to characterize the essence of the editorial policy of «Zhinochyj Gholos» magazine, which positioned itself as a socialist, to define the ideological discourse that shaped the magazine. This edition has come a long way from the thematic page in the socialist newspaper «Ghromadsjkyj Gholos» to an independent magazine. Gender media studios in the Western scientific tradition already have significant gains, as research has been around since the 1960s. However, gender studies are a relatively young trend in Ukrainian media studies, as holistic research only emerged in the 2000s. The methodology chosen is to combine feminist discourse analysis with the achievements of post-colonial criticism. Many of the articles in the newspaper can be called ideological texts because they spread socialist ideas. In the journal «Zhinochyj Gholos», ideological discourse was formed, including through the heroization of figures of the socialist movement of the turn of the nineteenth and twentieth centuries. The magazine purposefully designed an idealized image of the Ukrainian socialist feminist. The intentionality of the text in this case coincided with its pragmatism, because the author's call for devotion to socialist ideals was found in the response of many readers of the paper. Mention of the fight against capitalists in common with men is quite common in magazine articles, indicating that the editorial board is reluctant to identify its journal exclusively with the feminist movement. First of all, the idea of economic liberation of women, the struggle for decent working conditions and their remuneration were important to the socialists, and the proletarian men were seen as accomplices in this struggle. The editorial board of the socialist magazine was of the opinion that purely feminist slogans could be taken only by the bourgeois woman, and that Ukrainian peasants and workers (who were the main readers of the magazine) would be closer to the ideas of social justice. Ideological texts of the magazine are characterized by a peculiar authorial interpretation of the political situation, their own ideological accents and specific stylistics. As a result of the study, it was found out that the Western Ukrainian magazine «Zhinochyj Gholos» offered its own version of feminism, which included feminist ideas, national-state concepts and socialist ideology. The study of the history of feminist tendencies in the media discourse and the specifics of their implementation in the press is a new trend in Ukrainian media studies.

As proof of existence in the field of art, portraits and self-portraits reflected the physical characteristics of the picture. Turkish Art, those personal expressions have been in progress and shaped around faith and lifestyles, and also we can witness their history until Karasuk and Taştık Periods’ graves. During Ottoman Empire , mentality of performing portraits were improved with efforts of Fatih Sultan Mehmet ;also Art of Miniature was known to contribute to this progress. In contemporary Turkish painting art, excitement felt for painting has been transferred to portraits and self-portraits through different art movement and artistic tendency. In Expressionism, which is one of these art movements, the emotional states of the artists were presented to the audience through works. In this research, portrait and self-portrait through historical process and Expressionism between 1923 and 1960 was referred in contemporary Turkish painting. The main subject of the research is to examine the portrait and self-portraits samples studied by the State Academy of Fine Arts between 1938-1939, and the portrait works by Avni Arbaş and Nedim Argun, which take Saran as models. Within the scope of the research, eleven works of Mukaddes Saran, Avni Arbaş and Nedim Argun were analyzed according to the stages of art criticism of the "Feldman Model", based on the stages of description, analysis, interpretation and judgment. In the study, in which qualitative research methods were adopted, textual analysis of the data obtained from books, articles and artist catalogs were made. As a result, it was understood that Mukaddes Saran produced many Expressionist works and inspired artists such as Avni Arbaş and Nedim Argun as models. Keywords: Contemporary Turkish painting, expressionism, Mukaddes Saran, Avni Arbaş, Nedim Argun

I draw attention to some common misunderstandings among Dewey’s critics, as well as to some significant interpretive clarifications by commentators who viewed his work in a positive light. I have found it instructive to look back at two sources as an aid to understanding what his critics found so puzzling about his work. First, there are the reviews in professional journals that appeared in the wake of the publication of the Logic. Second, there are essays by some of his critics included in the Library of Living Philosophers volume published as a part of the celebration of his 80th birthday in 1939. In addition, I occasionally call on ancillary remarks and interpretations from other sources when I think they will help to clarify a point.

The aim of the article is to reconstruct the main directions of Flaubert’s reception in Polish literary criticism at the beginning of the 20th century. At that time, the ideological debates of the 19th-century critics gave way to essayistic and academic considerations. In the rich material, three main parts can be distinguished. Firstly, the already forgotten works by Helena Frejlich, which introduced Flaubert’s correspondence to literary studies. Frejlich was one of the first to critically examine Flaubert’s letters to Colet, finding in them not only a rich testimony to the everyday life of the great writer, but also a special treatise on aesthetics. Secondly, a fundamental essay by Jan Parandowski should be mentioned, which for many years determined how Flaubert was read in Poland. It is to Parandowski that we owe inspirational remarks on the subject of Flaubert’s style, impersonal literature or the poetics of a realistic novel. Thirdly, we should remember scattered interpretative works; the authors (e.g. Lorentowicz, Rogowicz, Topoliński) not only analyzed selected works by Flaubert, but also introduced comparative issues into their essays, comparing Flaubert with Żeromski. Undoubtedly, the first decades of the 20th century influenced the post-war shape of Flaubert’s reception in Poland. The article concludes with a discussion of Iwieński’s preface to the 1912 translation of Madame Bovary. Iwieński repeats the observations previously formulated by other critics, but at the same time opens an important period of reflection on the status of Flaubert’s literary translations in Poland.

The author considers the circumstances in which Kazimierz Wyka and Stefan Napierski, two respected literary critics, published texts which criticized Bruno Schulz in the monthly magazine Ateneum (1939, no. 1). Schulz’s prose works were already widely known to be difficult, but there was no doubt as to their merit. The writer’s high position seemed indisputable, and yet Wyka and Napierski still consciously tried to destroy Schulz’s legacy. Their critical attack on Schulz is interpreted in the essay not as an isolated exploit, but as a model case of interpretational misunderstanding, which is not so much the effect of a lack of understanding, but of planned action and ill will of the critics. Wyka and Napierski did not want to understand, and with their dislike of the type of prose that Schulz wrote they programmed a certain type of reading and critical approach, which had many followers and determined reception. At the same time, however, their dismissal of Schulz turned out to have a positive value ‒ not for the history of criticism, but for Schulz studies as such.

In his recent re-evaluation of McLuhanite theories for the information age, Digital McLuhan, Paul Levinson makes what at first glance appears to be a curious statement: he says that on the Web "the common denominator ... is the written word, as it is and has been with all things having to do with computers -- and will likely continue to be until such time, if ever, that the spoken word replaces the written as the vehicle of computer commands" (38). This, however, seems to directly contradict what any Web user has been able to experience for several years now: Web content has increasingly come to rely on graphics, at first still, now also often animated, and continues to include more and more audiovisual elements of various kinds. We don't even have to look at the current (and, hopefully, passing) phase of interminable Shockwave splash pages, which users have to endure while they wait to be transferred to the 'real' content of a site: even on as print-focussed a page as the one you're currently reading, you'll see graphical buttons to the left and at the bottom, for example. Other sites far surpass this for graphical content: it is hard to imagine what the official Olympics site or that of EXPO 2000 would look like in text-only versions. The drive towards more and more graphics has long been, well, visible. Already in 1997 (at a time when 33.6k modems were considered fast) Marshall considered the Internet to have entered its "graphic stage, a transitional media form that has made surfing the net feel like flipping through a glossy magazine or the interlinkages of a multimedia game or encyclopedia CD-ROMs"; to him this stage "relies on a construction that is textual and graphically enhanced through software overlays ... and highlighted by sample images, sound bites and occasionally short, moving images" (51). This historicised view mirrors a distinction made around the same time by Lovink, who divided users into "IBM-PC-modernists" still running text-based interfaces, and those enjoying the "Apple-Windows 95-postmodernism" of their graphical user interfaces (Lovink and Winkler 15). In the age of GUIs, in fact, 'text' in itself does not really exist on screen any more: everything from textual to graphical information consists of individual pixels in the same way, which is precisely what makes Levinson's initial statement appear so anachronistic. The move from 'text' to 'graphics and text' could thus be seen as a sign of the overall shift from the industrial to the information age -- a view not without precedent, since the transition from modernist to postmodernist times is similarly contemporaneous with the rise of graphic design as a form of communication as well as art. Beyond such broad strokes, we can also identify some of the finer details presented by the current state of graphics on the Web, however. Marshall's 'graphic stage', after all, was a 'transitional' one, and by now it seems that we might have passed it already, entering into a new aesthetic paradigm which appears to have borrowed many of its approaches from the realm of computer games: the new Web vision is shiny, colourful, animated, and increasingly also accompanied by sound effects. This is no surprise since the mass acceptance of personal computers themselves was largely driven by their use as a source of entertainment. Gaming and computers are inseparably interconnected, and the development of home computers' graphical capabilities in particular has long been driven almost exclusively by players' needs for better, faster, more realistic graphics. Of course, the way we interact with computers also owes a significant debt to games. Engagement in a dialogue with the machine, in which the computer displays both our own actions and its responses, representing us and itself simultaneously on screen, is the predominant mode of computing, and such a mode of engagement (dissolving the barriers between human mind and machinic computation) can now also be found in our interaction with the Web. Here, too, individual knowledge blends with the information available on the network as we immerse ourselves in hypertextual connectivity. As Talbott writes, "clearly, a generation raised on Adventure and video games -- where every door conceals a treasure or a monster worth pursuing in frenetic style -- has its own way of appreciating the hypertext interface" (13); not only has the Web taken on the aesthetics of computer gaming, then, but using the Web itself exhibits aspects of participation in a global 'knowledge game'. Talbott means to criticise this when he writes that thus "the doctrines of endless Enlightenment and Progress become the compelling subtext of a universal video game few can resist playing" (196), but however we may choose to evaluate this game, the observation itself is sound. One possible reason for taking a critical view of this development is that computer and video games rarely present more than the appearance of participation; while players may have a feeling of control over features of the game, the game itself usually remains entirely unaffected and ready for a restart at any moment. Web users might similarly feel empowered by the wealth of information to which they have gained access online, without actually making use of that information to form new knowledge for themselves. This is a matter for the individual user, however; where they have a true interest in the information they seek, we can have every confidence that they will process it to their advantage, too. Beyond this, the skills of information seeking learnt from Web use might also have overall benefits for users, as a kind of 'mind-eye coordination' similar to the 'hand-eye coordination' benefits often attributed to the playing of action games. The ability to figure out unknown problems, the desire to understand and gain control of a situation, which they can learn from computer games, is likely to help them better understand the complexity and interconnectedness of anything they might learn: "it could ... well be true that the cross-linking inherent in hypertext encourages people to see the connections among different aspects of the world so that they will get less fragmented knowledge" (Nielsen 190). The increasingly graphical nature of Web content could appear to work against this, however: "extensions of traditional hyperTEXT systems to encompass hyperMEDIA introduces [sic] a new dimension. ... The picture that 'speaks a thousand words' may say a thousand different words to different viewers. Pictures or graphics lend themselves much more than does text to multiple interpretations", as McAleese claims (12-13) -- but perhaps this overrates significantly the ability of text to anchor down meaning to any one point. Rather, it is questionable whether text and images really are that different from one another -- viewed from a historical perspective, certainly, opinions are divided, it seems: "the medieval church feared the power of the visual image because of the way it appeared to licence the imagination and the consideration of alternatives. Obversely, contemporary cultural critics fear that the abandonment of the written word in favour of graphics is stifling critical and creative powers" (Moody 60) -- take, for example, the commonly held view that movies made from novels limit the reader's imagination to the particular portrayal of events chosen for the film. In fact, there are good reasons to believe that both text and images (especially when they are increasingly easy to manipulate by digital means, thus losing once and for all their claim to photographic 'realism') can 'say a thousand different words to different viewers' -- indeed, traditional photography has also been described as 'writing with light'. As Levinson notes, therefore, "once the photograph is converted to a digital format, it is as amenable to manipulation, as divorced from the reality it purports to represent, as the words which appear on the same screen. On that score, the Internet's co-option of photography -- the rendering of the formerly analogue image as its content -- is at least as profound as the Internet's promotion of written communication" (43), and this, then, may perhaps begin to provide a resolution to his overall preference for writing as the predominant Internet communication form, as quoted above: online writing now includes in almost equal measure 'print' text and graphical images, both of which are of course graphically rendered on screen by the computer anyway; they combine into a new form of writing not unlike ancient hieroglyphics. On the Web, writing has come full circle: from the iconographic representations of the earliest civilisations through their simplification and solidification into the various alphabets back to a new online iconography. This also demonstrates the strong Western bias of this technology, of course: had computers emerged from Chinese or Japanese culture, for example -- where alphabets in the literal sense don't exist -- chances are they would never have existed in a text-only form. Now that we have passed the alphabetic stage to re-enter an era of iconography, then, it remains to be seen how this change along with our overall "'immersion' in hypertext will affect the way that we mentally structure our world. Linear argumentation is more a consequence of alphabetic writing than of printed books and it remains to be seen if hypertext presentation will significantly erode this predominant convention for mentally ordering our world" (McKnight et al. 41). Perhaps the computer game experience (where a blending of text and graphics had begun some time before the Web) can provide some early pointers already, then. The game-like nature of information search and usage online might help to undermine some of the more heavily encrusted structures of information dissemination that are still dominant: "we are promised, on the information 'library' side, less of the dogmatic and more of the ludic, less of the canonical and more of the festive. Fewer arguments from authority, through more juxtaposition of authorities" (Debray 146). This is also supported by the fact that there usually exists no one central authority, no one central site, in any field of information covered by the Web, but that there rather is a multiplicity of sources and viewpoints with varying claims to 'authority' and 'objectivity'; rather than rely on authorities to determine what is accepted knowledge, Web users must, and do, distil their own knowledge from the information they find in their searches. Kumon and Aizu's notion that from the industrial-age "wealth game" we have now moved into the "wisdom game" (320) sums up this view. However, for all the ludic exuberance of this game, we should also be concerned that, as in any game, we are also likely to see winners and losers. Those unaware of the rules of the game, and people who are prevented from playing for personal or socioeconomic reasons (the increased use of graphics will make it much more difficult for certain disabled readers to use the Web, for example) must not be left out of it. In gaming terminology, perhaps the formation of teams including such disadvantaged people is the answer? References Debray, Régis. "The Book as Symbolic Object." The Future of the Book. Ed. Geoffrey Nunberg. Berkeley: U of California P, 1996. 139-51. Kumon, Shumpei, and Izumi Aizu. "Co-Emulation: The Case for a Global Hypernetwork Society." Global Networks: Computers and International Communication. Ed. Linda M. Harasim. Cambridge, Mass.: MIT P, 1994. 311-26. Levinson, Paul. Digital McLuhan: A Guide to the Information Millennium. London: Routledge, 1999. Lovink, Geert, and Hartmut Winkler. "The Computer: Medium or Calculating Machine." Convergence 3.2 (1997): 10-18. Marshall, P. David. "The Commodity and the Internet: Interactivity and the Generation of Audience Commodity." Media International Australia 83 (Feb. 1997): 51-62. McAleese, Ray. "Navigation and Browsing in Hypertext." Hypertext: Theory into Practice. Ed. Ray McAleese. Oxford: Intellect, 1993. 5- 38. McKnight, Cliff, Andrew Dillon, and John Richardson. Hypertext in Context. Cambridge: Cambridge UP, 1991. Moody, Nickianne. "Interacting with the Divine Comedy." Fractal Dreams: New Media in Social Context. Ed. Jon Dovey. London: Lawrence and Wishart, 1996. 59-77. Nielsen, Jakob. Hypertext and Hypermedia. Boston: Academic P, 1990. Talbott, Stephen L. The Future Does Not Compute: Transcending the Machines in Our Midst. Sebastopol, Calif.: O'Reilly and Associates, 1995. Citation reference for this article MLA style: Axel Bruns. "The Knowledge Adventure: Game Aesthetics and Web Hieroglyphics." M/C: A Journal of Media and Culture 3.5 (2000). [your date of access] <http://www.api-network.com/mc/0010/adventure.php>. Chicago style: Axel Bruns, "The Knowledge Adventure: Game Aesthetics and Web Hieroglyphics," M/C: A Journal of Media and Culture 3, no. 5 (2000), <http://www.api-network.com/mc/0010/adventure.php> ([your date of access]). APA style: AxeM/C: A Journal of Media and Culture l Bruns. (2000) The knowledge adventure: game aesthetics and Web hieroglyphics. 3(5). <http://www.api-network.com/mc/0010/adventure.php> ([your date of access]).

IntroductionThis essay will focus on some of the connections between digitally transmitted stories, games, narrative processes, and the discipline whose ostensible job is the study of storytelling, namely literature. My observations will be limited to the specific case of computer games, storytelling, and what is often unproblematically referred to as “literature,” in order to focus attention on historical and contemporary features of the development of the relationship between the two that remain largely unexamined. Therefore, one goal of this essay is to re-think this relationship from a fresh perspective, whose “freshness” derives from reopening the past and re-examining what is overlooked when games scholars talk about “narrative” and “literature” as though they were interchangeable.Further, I will discuss the dissemination of narrative on/through various platforms before mass-media, such as textually transmitted stories that anticipate digitally disseminated narrative. This will include specific examples as well as a more general a re-examination of claims made on the topic of literature, narrative and computer games, via a brief review of disciplinary insights from the study of digital games and narrative. The following is therefore intended as a view of games and (literary) narrative in pre-digital forms as an attempt to build bridges between media studies and other disciplines by calling for a longer, developmental history of games, narrative and/or literature that considers them together rather than as separate territories.The Stakes of the Game My reasons for re-examining games and narrative scholarship include my desire to discuss a number of somewhat less-than-accurate or misleading notions about narrative and literature that have been folded into computer game studies, where these notions go unchallenged. I also want to point out a body of work on literature, mimesis and play that has been overlooked in game studies, and that would be helpful in thinking about stories and some of the (digital) platforms through which they are disseminated.To begin by responding to the tacit question of why it is worth asking what literary studies have to do with videogames, my answer resides in the link between play, games and storytelling forged by Aristotle in the Poetics. As a function of imitative play or “mimesis,” he claims, art forms mimic phenomena found in nature such as the singing of birds. So, by virtue of the playful mimetic function ascribed to the arts or “poesis,” games and storytelling are kindred forms of play. Moreover, the pretend function common to art forms such as realist fictional narratives that are read “as if” the story were true, and games played “as if” their premises were real, unfold in playfully imitative ways that produce possible worlds presented through different media.In the intervening centuries, numerous scholars discussed mimesis and play from Kant and Schiller in the 18th century, to Huizinga, and to many scholars who wrote on literature, mimesis and play later in the 20th century, such as Gadamer, Bell, Spariousu, Hutchinson, and Morrow. More recently, games scholar Janet Murray wrote that computer games are “a kind of abstract storytelling that resembles the world of common experience but compresses it in order to heighten interest,” hence even Tetris acts as a dramatic “enactment of the overtasked lives of Americans in the 1990’s” allowing them to “symbolically experience agency,” and “enact control over things outside our power” (142, 143). Similarly, Ryan has argued that videogames offer micro stories that are mostly about the pleasure of discovering nooks and crannies of on-line, digital possible worlds (10).At the same time, a tendency developed in games studies in the 1990s to eschew any connection with narrative, literature and earlier scholarship on mimesis. One example is Markku Eskelinen’s article in Game Studies wherein he argued that “[o]utside academic theory people are usually excellent at making distinctions between narrative, drama and games. If I throw a ball at you I don’t expect you to drop it and wait until it starts telling stories.” Eskelinen then explains that “when games and especially computer games are studied and theorized they are almost without exception colonized from the fields of literary, theatre, drama and film studies.” As Eskelinen’s argument attests, his concern is disciplinary territorialisation rather than stories and their transmedial dissemination, whereas I prefer to take an historical approach to games and storytelling, to which I now direct my attention.Stepping Back Both mimesis and interactivity are central to how stories are told and travel across media. In light thereof, I recall the story of Zeuxis who, in the 5th century BC, introduced a realistic method of painting. As the story goes, Zeuxis painted a boy holding a bunch of grapes so realistically that it attracted birds who tried to enter the world of the painting, whereupon the artist remarked that, were the boy rendered as realistically as the grapes, he would have scared the birds away. Centuries later in the 1550s, the camera obscura and mirrors were used to project scenery as actors moved in and out of it as an early form of multimedia storytelling entertainment (Smith 22). In the late 17th century, van Mieris painted The Raree Show, representing an interactive travelling storyboard and story master who invited audience participation, hence the girl pictured here, leaning forward to interact with the story.Figure 1: The Raree Show (van Mieris)Numerous interactive narrative toys were produced in the 18th and 19th, such as these storytelling playing cards sold as a leaf in The Great Mirror of Folly (1720). Along with the plays, poems and cartoons also contained in this volume dedicated to the South Sea Bubble crisis of 1720, the cards serve as a storyboard with plot lines that follow suits, so that hearts picks up one narrative thread, and clubs, spades and diamonds another. Hence while the cards could be removed for gaming they could also be read as a story in a medium that, to borrow games scholar Espen Aarseth’s terminology, requires non-trivial physical or “ergodic effort” on the part of readers and players.Figure 2: playing cards from The Great Mirror of Folly (1720) In the 20th century examples of interactive and ergodic codex fiction abound, including Hesse’s Das Glasperlenspiel [Glass Bead Game] (1943, 1949), Nabokov’s Pale Fire (1962), Saporta’s Composition No. 1 (1962), and Winterson’s PowerBook (2001) that conceptually and/or physically mimic and anticipate hypertext. More recently, Chloé Delaume’s Corpus Simsi (2003) explicitly attempts to remediate a MMORPG as the title suggests, just as there are videogames that attempt, in various ways, to remediate novels. I have presented these examples to argue for a long-continuum view of storytelling and games, as a series of attempts to produce stories—from Zeuxis grapes to PowerBook and beyond—that can be entered and interacted with, at least metaphorically or cognitively. Over time, various game-like or playful interfaces from text to computer have invited us into storyworlds while partially impeding or opening the door to interaction and texturing our experience of the story in medium-specific ways.The desire to make stories interactive has developed across media, from image to text and various combinations thereof, as a means of externalizing an author’s imagination to be activated by opening and reading a novel, or by playing a game wherein the story is mediated through a screen while players interact to change the course of the story. While I am arguing that storytelling has for centuries striven to interpolate spectators or readers by various means and though numerous media that would eventually make storytelling thoroughly and not only metaphorically interactive, I want now to return briefly to the question of literature.Narrative vs LiteratureThe term “literature” is frequently assumed to be unambiguous when it enters discussions of transmedia storytelling and videogames. What literature “is” was, however, hotly debated in the 1980s-90s with many scholars concluding that literature is a construct invented by “old dead white men,” resulting in much criticism on the topic of canon formation. Yet, without rehearsing the arguments produced in previous decades on the topic of literariness, I want to provide a few examples of what happens when games scholars and practitioners assume they know what literature is and then absorb or eschew it in their own transmedia storytelling endeavours.The 1990s saw the emergence of game studies as a young discipline, eager to burst out of the crucible of English Departments that were, as Eskelinen pointed out, the earliest testing grounds for the legitimized study of games. Thus ensued the “ludology vs narratology” debate wherein “ludologists,” keen to move away from literary studies, insisted that games be studied as games only, and participated in what Gonzalo Frasca famously called the “debate that never happened.” Yet as short-lived as the debate may have been, a negative and limited view of literature still inheres in games studies along with an abiding lack of awareness of the shared origins of stories, games, and thinking about both that I have attempted to sketch out thus far.Exemplary of arguments on the side of “ludology,” was storytelling game designer Chris Crawford’s keynote at Mediaterra 2007, in which he explained that literariness is measured by degrees of fun. Hence, whereas literature is highly formulaic and structured, storytelling is unconstrained and fun because storytellers have no rigid blueprint and can change direction at any moment. Yet, Crawford went on to explain how his storytelling machine works by drawing together individual syntactic elements, oddly echoing the Russian formalists’ description of literature, and particularly models that locate literary production at the intersection of the axis of selection, containing linguistic elements such as verbs, nouns, adjectives and so on, and the axis of combination governed by rules of genre.I foreground Crawford’s ludological argument because it highlights some of the issues that arise when one doesn’t care to know much about the study of literature. Crawford understands literature as rule-based, rigid and non-fun, and then trots out his own storytelling-model based or rigid syntactical building blocks and rule-based laws of combination, without the understanding the irony. This returns me to ludologist Eskelinen who also argued that “stories are just uninteresting ornaments or gift-wrappings to games”. In either case, the matter of “story” is stretched over the rigid syntax of language, and the literary structuralist enterprise has consisted precisely in peeling back that narrative skin or “gift wrap” to reveal the bones of human cognitive thought processes, as for example, when we read rhetorical figures such as metaphor and metonymy. In the words of William Carlos Williams, poetry is a machine made out of words, from whose nuts and bolts meaning emerges when activated, similar to programing language in a videogame whose story is eminent and comes into being as we play.Finally, the question of genre hangs in the background given that “literature” itself is potentially transmedia because its content can take many forms and be transmitted across diverse platforms. Importantly in this regard the novel, which is the form most games scholars have in mind when drawing or rejecting connections between games and literature, is itself a shape-shifting, difficult-to-define genre whose form, as the term novel implies, is subject to the constant imperative to innovate across media as it has done over time.Different Approaches While I just highlighted inadequacies in some of the scholarship on games and narrative (or “literature” when narrative is defined as such) there is work on interactive storytelling and the transmedia dissemination of stories explicitly as games that deals with some of these issues. In their article on virtual bodies in Dante’s Inferno (2010), Welsh and Sebastian explain that the game is a “reboot of a Trecento poem,” and discuss what must have been Dante’s own struggle in the 14th century to “materialize sin through metaphors of suffering,” while contending “with the abstractness of the subject matter [as well as] the representational shortcomings of language itself,” concluding that Dante’s “corporeal allegories must become interactive objects constructed of light and math that feel to the user like they have heft and volume” (166). This notion of “corporeal allegories” accords with my own model of a “body hermeneutic” that could help to understand the reception of stories transmitted in non-codex media: a poetics of reading that includes how game narratives “engage the body hapitically” (Goggin 219).Likewise, Kathi Berens’s work on “Novel Games: Playable Books on iPad” is exemplary of what literary theory and game texts can do for each other, that is, through the ways in which games can remediate, imitate or simply embody the kind of meditative depth that we encounter in the expansive literary narratives of the 19th century. In her reading of Living Will, Berens argues that the best way to gauge meaning is not in the potentialities of its text, but rather “in the human performance of reading and gaming in new thresholds of egodicity,” and offers a close reading that uncovers the story hidden in the JavaScript code, and which potentially changes the meaning of the game. Here again, the argument runs parallel to my own call for readings that take into account the visceral experience of games, and which demands a configurative/interpretative approach to the unfolding of narrative and its impact on our being as a whole. Such an approach would destabilize the old mind/body split and account for various modes of sensation as part of the story itself. This is where literary theory, storytelling, and games may be seen as coming together in novels like Delaume’s Corpus Simsi and a host of others that in some way remediate video games. Such analyses would include features of the platform/text—shape, topography, ergodicity—and how the story is disseminated through the printed text, the authors’ websites, blogs and so on.It is likewise important to examine what literary criticism that has dealt with games and storytelling in the past can do for games. For example, if one agrees with Wittgenstein that language is inherently game-like or ludic and that, by virtue of literature’s long association with mimesis, its “as if” function, and its “autotelic” or supposedly non-expository nature, then most fiction is itself a form of game. Andrew Ferguson’s work on Finnegan’s Wake (1939) takes these considerations into account while moving games and literary studies into the digital age. Ferguson argues that Finnegan’s Wake prefigures much of what computers make possible such as glitching, which “foregrounds the gaps in the code that produces the video-game environment.” This he argues, is an operation that Joyce performed textually, thereby “radically destabilizing” his own work, “leading to effects [similar to] short-circuiting plot events, and entering spaces where a game’s normal ontological conditions are suspended.” As Ferguson points out, moreover, literary criticism resembles glitch hunting as scholars look for keys to unlock the puzzles that constitute the text through which readers must level up.Conclusion My intention has been to highlight arguments presented by ludologists like Eskelinnen who want to keep game studies separate from narrative and literary studies, as well as those game scholars who favour a narrative approach like Murray and Ryan, in order to suggest ways in which a longer, historical view of how stories travel across platforms might offer a more holistic view of where we are at today. Moreover, as my final examples of games scholarship suggest, games, and games that specifically remediate works of literature such as Dante’s Inferno, constitute a rapidly moving target that demands that we keep up by finding new ways to take narrative and ergodic complexity into account.The point of this essay was not, therefore, to adapt a position in any one camp but rather to nod to the major contributors in a debate which was largely about institutional turf, and perhaps never really happened, yet still continues to inform scholarship. At the same time, I wanted to argue for the value of discussing the long tradition of understanding literature as a form of mimesis and therefore as a particular kind of game, and to show how such an understanding contributes to historically situating and analysing videogames. Stories can be experienced across multiple platforms or formats, and my ultimate goal is to see what literary studies can do for game studies by trying to show that the two share more of the same goals, elements, and characteristics than is commonly supposed.ReferencesAristotle. Poetics, Trans. J. Hutton. New York: W.W. Norton & Company, 1982.Aarseth, Espen. Cybertext: Perspectives on Ergodic Literature. Baltimore: Johns Hopkins UP, 2007.Behrens, Kathi. “‘Messy’ Ludology: New Dimensions of Narrator Unreliability in Living Will.” No Trivial Effort: Essays on Games and Literary Theory. Eds. Joyce Goggin and Timothy Welsh. Bloomsbury: Forthcoming.Bell, D. Circumstances: Chance in the Literary Text. Lincoln: Nebraska UP, 1993. Delaume, Chloé. Corpus Simsi. Paris: Éditions Léo Scheer, 2003.Eskelinen, Markku. “The Gaming Situation”. Game Studies 1.1 (2011). <http://www.gamestudies.org/0101/eskelinen/>. Ferguson, Andrew. “Let’s Play Finnegan’s Wake.” Hypermedia Joyce Studies 13 (2014). <http://hjs.ff.cuni.cz/archives/v13_1/main/essays.php?essay=ferguson>. Gadamer, Hans-Georg. Truth and Method, Trans. Barden and Cumming. New York: Crossroad, 1985.Goggin, Joyce. “A Body Hermeneutic?: Corpus Simsi or Reading like a Sim.” The Hand of the Interpreter: Essays on Meaning after Theory. Eds. G.F. Mitrano and Eric Jarosinski. Bern: Peter Lang, 2008. 205-223.Hesse, Hermann. The Glass Bead Game [Das Glasperlenspiel]. Trans. Clara Winston. London: Picador, 2002.Huizinga, Johann. Homo Ludens. Groningen: Wolters-Noordhoff cop, 1938.Hutchinson, Peter. Games Authors Play. New York: Metheun, 1985.James, Joyce. Finnegan’s Wake. London: Faber and Faber, 1939.Morrow, Nancy. Dreadful Games: The Play of Desire and the 19th-Century Novel. Ohio: Kent State UP, 1988.Murray, Janet H. Hamlet on the Holodeck: The Future of Narrative in Cyberspace. Cambridge: MIT UP, 1997.Nabokov, Vladimir. Pale Fire. New York: Putnam, 1962.Ryan, Marie-Laure. Narrative as Virtual Reality: Immersion and Interactivity in Literature and Electronic Media. Baltimore: Johns Hopkins UP, 2001.Saporta, Marc. Composition No. 1. Paris: Éditions du Seuil, 1962.Smith, Grahame. Dickens and the Dream of Cinema. Manchester: Manchester UP, 2003.Spariosu, Mihai. Literature, Mimesis and Play. Tübigen: Gunter Narr Verlag, 1982.Winterson, Janette. The PowerBook. London: Vintage, 2001.Wittgenstein, Ludwig. The Philosophical Investigations. Trans. G.E.M. Anscombe. New York: Macmillan: 1972.