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A Better Pencil

November 12, 2009 by Roy Johnson

Readers, Writers, and the Digital Revolution

A Better Pencil is a study that traces the relationships between writing and reading and the technology used as the medium of communication – from the invention of writing, the development of the printing press, then the typewriter, to the modern computer.

It’s a book about how the digital revolution is impacting our reading and writing practices, and how the latest technologies of the word differ from what came before.

A Better Pencil - book jacketIn this sense Dennis Baron has produced a similar work to that of his namesake Naomi Baron’s Alphabet to Email though his emphasis is less on historical development and more on exploring topics related to the issue. In fact I was rather glad he didn’t take a strictly chronological approach, which would have delayed annoyingly any revelations he might have about electronic writing. But the problem with his thematic structure is that many of his observations are made over and over again, each one of which he seems to imagine to be the first.

The one basic argument which he repeats is that each development in the technology of literacy was at first introduction regarded with suspicion. Even writing itself, which it was thought (by Plato) would lead to the decline of human memory. Then printing, which some people opposed on the grounds that it would lead to the dissemination of new ideas and the loss of respect for the authority of the church – and they were right.

What he’s doing in fact is looking at commonly held notions about computer technology and trying to dissipate widespread fears and misconceptions. Will computers lead to a decline in literacy. Answer – No. Will they rot our children’s brains – no. And so on.

The idea that some people are suspicious of technology is examined at some length by a study of the Unabomber – the technophobe terrorist who was ironically caught out only when he published his manifesto. The story is well told, and it’s entertaining enough – but it tells us almost nothing about writing or technology that we didn’t already know. However, this is a book that becomes more interesting as it goes on.

There’s quite a good chapter on the history of the pencil (much of it taken from the work of Henry Petrowski) that throws up quite a few interesting observations. He argues for instance that writing in pencil lacks status because the pencil post-dates the pen in historical development. Its traces can be wiped out of course, yet some pencils do not have erasers – for very good reasons. Joiners don’t want to leave graphite smears on their work, and golfers should not alter their scores.

It doesn’t take us much closer to electronic writing, but there’s a very amusing chapter on handwriting in which he exposes the bogus claims of graphologists (sloping left script = suicidal tendencies: that sort of rubbish). He makes the more serious point that people repeatedly claim current handwriting practice is a falling off in standards from some previous golden era in which everybody wrote in beautiful copperplate script. This too just isn’t true.

Once he gets to word-processors all his lines of argument begin to come together. Anyone who has followed the development of writing with a PC will be fondly reminded of the early frustrations as he describes his experiences using VAX, WordStar, and WordPerfect. As he rightly claims, all new developments in writing technology seem to slow down the writing process when they are first introduced.

He looks at the conventions, plus the advantages and disadvantages of all forms of on-screen writing – email, web pages, Instant Messaging, and blogs. Each of these has so rapidly replaced its predecessors that the conventions often change with the matter of a few years. Something hip with the kids one moment becomes old hat the next – particularly when adults get involved. That’s happening on Facebook and Twitter right now.

Most of these are new opportunities for self-expression rather than new writing technologies – though he might have included text messaging as an almost coded form of communication. Wikis are also new in that they are anonymous user-generated writing in which individual contributors sacrifice notions of personal authorship for the sake of a common good.

He ends with a look at what he calls the ‘dark side of the web’ – the world of hate groups, email scams, and political censorship. I was glad he didn’t let the illustrious Google off the hook for the way in which they (and MSN) have capitulated to China, the world’s leader in state-sponsored cyber snooping (with an estimated 30,000 people employed in spying on their fellow citizens). And they’re not alone: Cuba, North Korea, Saudi Arabia, and Burma (Myanmar) are doing the same thing.

One of Baron’s other central arguments is that revolutions in our writing behaviour take place when the technology becomes cheap and ubiquitous enough to put new tools in everybody’s hands. Things are moving so fast in digital technology just at the moment that it’s hard to keep up or predict what might happen next. But this survey is an excellent account of the status quo at 2008/2009.

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© Roy Johnson 2009


Dennis Baron, A Better Pencil: Readers, Writers, and the Digital Revolution, Oxford: Oxford University Press, 2009, pp.259, ISBN: 0195388445


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Filed Under: Media, Theory Tagged With: Computers, Electronic wrriting, Technology, Theory, Writing skills, Writing Theory

Alphabet to Email

May 22, 2009 by Roy Johnson

scholarly study of the history of writing and technology

What is the relationship between writing and technology – including the means by which it is produced? Is there a difference between writing with a quill on velum, a pen on paper, or onto a hard disk using a word-processor. Naomi Baron certainly thinks there is, and she brings considerable erudition from what seems to be an Eng. Lit. background to explore the issues. She begins with a pithy analysis of twentieth century theories of the relationship between the spoken and the written language, then goes on to show how the text as an object evolved – from scroll to codex to printed book, and the effect that this had on both the process of production and consumption of the text.

Alphabet to Email Taking the UK as her model, she traces the development of literacy in the UK from the eighth century, showing how literacy is linked to technology. She then discusses the development of the first writings in English up to the birth of print, pointing out that not all writers (including Shakespeare) embraced the technology of their time. Aristocrats writing in the early Renaissance thought it was vulgar to have one’s work printed and published. This leads into the history of notions of authorship – showing how plagiarism, quotation, and copyright are quite modern concepts. There’s lots of historical depth in her examination of the subject, and thought-provoking ideas emerge on almost every page. This is a serious, scholarly work, but readers eager for the email element promised in the title will have to be patient.

The next part of her study deals with the political, legal, and commercial history of book production and its effect on determining authorship and ownership of text. En passant she covers issues of literacy and how it is to be measured, the sociology of reading habits, and then the history of dictionaries in the seventeenth and eighteenth centuries. In the centre of the book, there’s a a lot on the history of the English Language and its development, spelling reform, the history of writing as a physical activity, and the rise of prescriptive grammar and ‘received pronunciation’ in the eighteenth century.

Then suddenly there is a chapter which seems to have come from nowhere. It explores the development of educational theory in American Universities and the rise of the ‘English Comp’ class. She gradually makes contact with what is supposed to be her subject when a consideration of online and collaborative writing – but by the time we get to the development of the WELL and Netscape it’s rather difficult to see where her argument is heading, though she does come back to authorship, ownership, and copyright in an age of compositional hypertext.

Then it’s back to classical Greece and Rome for a chapter on punctuation, retracing our steps via the Renaissance in a consideration of the relationship between writing, punctuation, and how the language is spoken. This section ends with a glance at the punctuation of email – which at least brings the promised subject back into view.

There is then a chapter on communication technology – from the semaphore and the telephone through to email. Are we there at last? Unfortunately not, for having arrived at this point, her discussion expires into very distanced, sociological, and general observations. There are some interesting questions explored. Must we answer email as we feel obliged to answer the phone? But this is a question of etiquette, not writing. There is very little on the most revolutionary writing tool – the word-processor – no analysis of concrete examples, and there are no insights offered which a regular emailer would not come across several times a day.

Her writing is fairly lively, though given the subject matter she occasionally makes some surprising gaffes – ‘who was the audience?’, ”nearly almost’, and ‘Piaget, the Swiss philosopher-come-mathematician’. The study arrives with a good bibliography and a full scholarly apparatus, though there’s an annoying system of notation which sends you through two layers of bibliographic reference to check her sources.

The value of this work is in its historical depth and the connections she reveals between the words on the page and the means of getting them there. She’s at her most interesting in the Renaissance, but she doesn’t in fact have much to say that’s new about electronic writing. Apart from observing that the online world presents new problems for those who communicate by writing, the most useful parts of her exposition are concerned with the distant past, not the present. Nevertheless, anyone interested in the relationship between writing and technology will probably want to read what she has to say about these issues- if only because she covers such a broad historical span.

© Roy Johnson 2001

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Naomi S. Baron, Alphabet to Email: How written English evolved and where it’s heading, London/New York: Routledge, 2001, pp.336, ISBN: 0415186862


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Filed Under: Media, Theory Tagged With: Alphabet to Email, Electronic Writing, Language, Technology, Theory, Writing

An Introduction to Literary Studies

July 2, 2009 by Roy Johnson

how to understand, analyse, and write about literature

An Introduction to Literary Studies is aimed at serious students of English and American literature at college and university level. It’s designed to show you how to approach studying literature in a practical and theoretical manner, how to understand some of the fundamental concepts of literary studies, and how to articulate your understanding by writing academic essays. Mario Klarer begins by looking at some of the very basic issues – what is fiction? what is a poem? and what are the parts of these genres we look at when we study literature?

An Introduction to Literary Studies He examines character, plot, point of view, then metaphor, imagery, and symbols. There’s also a chapter on drama too, for those who still think this is related to literary studies. Next comes a section on theoretical approaches to literature. This is where most students will need help. That’s because the developments of critical theory in the post-war period have been bewildering, to say the least. He touches on rhetoric, formalism, structuralism, semiotics, and deconstruction, Marxism, feminism, and reader-response theory. All his explanations are given in a straightforward manner and he covers definitions of key terms such as ‘literature’, ‘text’, and ‘author’ – which might seem unproblematic, until you look below the surface.

There’s a full chapter on how to write a scholarly paper, lots of suggestions for further reading, and a glossary of terms used in both literary studies and the consideration of narratives in other genres such as film.

This latest second edition fully updates the highly successful first edition to provide greater guidance for online research and to reflect recent changes to MLA guidelines for referencing and quoting sources.

So, in a sense, this book is alerting students to the issues which can be considered in the practice of literary studies. It is showing what is possible, alerting you to themes, theories, and approaches you might not have considered, and pointing you towards sources of further information – which is just what an ‘introduction’ should do.

© Roy Johnson 2004

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Mario Klarer, An Introduction to Literary Studies, Andover: Routledge, 2nd edn, 2004, pp.173, ISBN: 0415333822


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Filed Under: Literary Studies, Theory Tagged With: Introduction to Literary Studies, Literary criticism, Literary studies, Study skills, Theory

Analysing narratives

September 9, 2012 by Roy Johnson

understanding how stories are told

What is analysing narratives?

Analysing narratives is making a critical assessment of features in a piece of work. This activity goes from making a detailed inspection of grammar and vocabulary, to offering judgements on major issues such as structure and genre.

A narrative is the account of a sequence of events. It’s the term used to describe the whole of a story, a tale, or even a process.

The term is used mainly in literary studies when discussing major genres such as the short story, the novella, and the novel. There are also narrative poems – such as Robert Browning’s The Pied Piper of Hamelin (1842).

A narrative is an account which has a discernable beginning, includes a sequence of events, and an outcome or a conclusion.


Narratives and media

The term narrative is also used for non-literary works. In such cases its used in a general and neutral sense, when the work does not have the consciously engineered structure of written works such as the short story or the novel.

For instance, any of the following can be considered narratives:

  • A newspaper report of a natural disaster such as a volcanic eruption
  • A television documentary covering the whole of a general election
  • The description of a manufacturing process such as car production

The analysis of narratives is a form of study which arose in literary studies, and has been continued in related cultural fields of media studies such as film, television, and even computer games.

It is even possible to have narrative paintings. The Bayeaux Tapestries for instance provide an account of the Battle of Hastings in 1066, depicting a sequence of its key events, but all presented simultaneously within one frame.

Bayeux Tapestry - analysing narratives

The language of narratives

The term narrative is used to described the whole of the piece of writing or the sequence of its events – as in

The narrative of Great Expectations is one in which Dickens combines all his favourite themes and unites them with a complex plot which is full of dramatic suspense.

The term story is used to describe the content of the narrative – as in

The story of Great Expectations is one of a young boy from a humble country background who becomes a London gentleman. In doing so he loses his moral sense – only to recover himself through painful scenes of redemption.

You can see that this is an extremely compressed summary of the novel which focuses only on its most important theme and excludes any of its smaller details.

Great Expectations - analysing narrativesThe term theme is used to describe the underlying topic or issue of the narrative. This is often of a general or abstract nature, as distinct from the overt subject with which the work deals. It should be possible to express theme in a single word or short phrase such as ‘redemption through suffering’, ‘moral education’, or ‘coming of age’.

The term plot is used to describe the manner in which elements of the narrative have been arranged to create dramatic interest, suspense, and possibly surprise. This arrangement could be the withholding of certain information, rearranging the sequence in which it is revealed, or embedding mysteries which only become clear when a later piece of information is presented.

A surprising turn of events, or the unmasking of a hidden identity are well-known plot devices of traditional fiction. Contemporary readers might feel that such devices have been so over-used as to become poor clichés.


Narrative mode

It is the author who writes the story, But an author can choose to convey events using one of what are called narrative modes. The two simplest are the first person singular (‘I’) and the third person singular (‘he’).

It is also possible to have stories related by multiple narrators. This is a device often used to present events from different perspectives or points of view.

Modern writers have also introduced further complexities into their stories by using what are called unreliable narrators. These are first person accounts given by characters with a limited, distorted, or even mistaken understanding of events.


First person narrators

The author creates a character who tells the story from his or her own point of view. That character may or may not be part of the story. Charles Dickens’ famous novel David Copperfield (1867) is an example of someone telling their own life story and participating in its events as one of the characters in the novel. Dickens is the author, David Copperfield is the narrator, and he is also a character in the story.

F Scott-Fitzgerald’s novel The Great Gatsby (1925) is largely concerned with the mysterious and very rich Jay Gatsby, but it is narrated by Nick Carraway, one of his neighbours and also a participating character in the novel.

Fyodor Dostoyevski on the other hand has a first person narrator in Notes from Underground (1864) whose name we never know. Almost the entire events of the novella consist of what’s going on in his head.

First person narrators tend to create a strong relationship with the reader, and many authors exploit this attraction to make the narrator persuasive or acceptable. The important thing to keep in mind is that the narrator does not necessarily represent the author’s own personal opinions.

Sometimes the author may act as the first person narrator, or make little attempt to create a fictional constructed character. But readers should never assume that narrators are a direct reflection of the author’s own opinions.


Studying FictionStudying Fiction is an introduction to the basic concepts and technical terms you need when making a study of stories and novels. It shows you how to understand literary analysis by explaining its elements one at a time, then showing them at work in short stories which are reproduced as part of the book. Topics covered include – setting, characters, story, point of view, symbolism, narrators, theme, construction, metaphors, irony, prose style, tone, close reading, and interpretation. The book also contains self-assessment exercises, so you can check your understanding of each topic. The book was written by the author of these web page guidance notes.

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Third person narrators

This is the most traditional manner of delivering narratives, in which the author creates a distance between author, character, and reader.

John Belstaff was a gentleman farmer who had lived at Aylesbury Reach ever since inheriting the property from his father twenty years previously. He had worked the land to profitable advantage during that time, and was now looking forward to a peaceful retirement.

All the information we have about such a character is presented to us by the author, and there is no intervening narrator. This gives the author an opportunity to create multiple characters in a single narrative, and to show events from their different points of view. If the author chooses to reveal the innermost thoughts and feelings of any characters, this approach is known as omniscient narrative mode.

Jane Austen uses a third person narrative mode for her novel Pride and Pejudice (1813). But part its charm is the ironic and witty authorial observations she scatters through the narrative.

It is a truth universally acknowledged that a single man in possession of a good fortune, must be in want of a wife.


Omniscient narrators

The term omniscient means ‘all-knowing’ or ‘all-seing’. It comes from the language of religion, and in this sense the author is presenting a God-like view of events in which the characters’ innermost thoughts, feelings, and aspirations are revealed.

Authors are at liberty to tell us as much or as little about their characters as they wish, but once they have chosen an omniscient mode of narration they cannot claim ignorance about any aspect of their story. Having said that, many of them sometimes do – in order to create the impression of honesty or an ordinary human intelligence at work.


Unreliable narrators

Many modern writers have created what are called unreliable narrators. In this case a story is told in the first person mode by a narrator who has flawed perceptions, a limited understanding of events, or who maybe even tells lies. In such cases the reader is given the additional task of unravelling the ‘true’ story from information some parts of which are misleading.

The Turn of the Screw - analysing narrativesA very famous case in point is Henry James’ ghost story The Turn of the Screw (1898). In this a governess to two children in a large country house provides a dramatic account of how they have been demonically possessed by the spirits of former servants who are now dead. The story has become famous because it can be interpreted in a number of different ways. The governess does not provide any evidence to support the claims she makes, and she invents scenes which nobody else in the story observes. However, the reader only has her account from which to make any sense of what is actually happening. It is only by comparing small details of her account that we can see that she is an unreliable narrator.

In fact this story has both a first person outer narrator, and an inner narrator who reads a copy of the written account of events created by the governess herself – making it an extremely complex thread to unravel.

Another (very amusing) example is Vladimir Nabokov’s novel Pale Fire (1962) in which his first person narrator Charles Kinbote edits a long poem in four cantos composed by an American writer who was his campus neighbour. On the surface, the poem is composed of scenes from the poet’s life and his philosophic reflections on domestic relationships.

But in a series of extended footnotes Kinbote analyses the poem in detail for hidden meanings. He reveals that it contains a subtly coded account of Kinbote’s own life, and his dramatic escape from eastern Europe which he had privately related to the poet as part of their friendship. Since the poet is dead, we only have Kinbote’s own word for the truth in any of his claims. However, Nabokov provides the reader with enough information to work out that Kinbote is a madman, and all his interpretations and literary detective work is a pack of lies.


The framed narrative

Many stories begin with a first or third person narrator who establishes the circumstances by which the story is known, In other words, somebody (named or un-named) informs the reader how the details of the story have come into being. The scene is set, or some prefatory knowledge is imparted. This takes the form of an introduction.

Then the main substance of the story is related, which constitutes the bulk of the narrative. This may be presented by the opening narrator, or it might be information from a different source – a second narrator, or a story passed on via letters or a diary from someone else.

At the end of the narrative, there is usually a return to the first narrator, who might reflect on the substance of what has been revealed. This is the ‘conclusion’ or the closing part of the overall narrative.

Such a case is called a framed narrative. An outer narrator passes the storytelling over to an inner narrator who relates the bulk of events.

Heart of DarknessA famous and much-discussed example is Joseph Conrad’s novella Heart of Darkness (1898). The story begins on board a ship moored in the Thames estuary, where a group of experienced seamen are reminiscing about their maritime experiences. An un-named outer narrator sets the scene, and then introduces Captain Marlow, who regales the company with the story of a journey he once made into the interior of Africa.

As readers we tend to forget all about the outer narrator, and even that the main events of the story are being spoken by Marlow. But at the end, when Marlow has finished his tale, the outer narrator comes back onto the page to ‘remind’ us that we are still on a ship in the Thames. The main narrative of a journey up an African river is ‘framed’ by the setting on the Thames, and the reader is implicitly being invited to draw parallels between the two.

© Roy Johnson 2012


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Filed Under: Literary studies Tagged With: Literary studies, Media, The novel, Theory

Art Theory: a short introduction

August 4, 2009 by Roy Johnson

brief critical guide to study of art and art theories

This introductory to art theory guide comes from a new series by Oxford University Press. They are written by specialists, aimed at the common reader, and offer an introduction to the main cultural and philosophical ideas which have shaped the western world. Cynthia Freeland takes a very lively and un-stuffy approach to explaining a wide variety of theories of art. She chooses topics – her first is the use of blood in art – then shows possible theoretical responses to it.

Art Theory Her range of examples is wide and impressive. She sweeps without pause from ancient and classical art to modern performance and digital arts, from Christian to Inca rituals, and on to Park Avenue auction prices. She is very well informed. En route she explains theories of art, from Kant, Hume, and Nietzsche, to Walter Benjamin, Marshall McLuhan, and Jean Baudrillard. Her prime intention seems to be to force us to think more flexibly about what constitutes a work of art. It’s an approach which consciously raises questions rather than delivering answers.

For instance there is an interesting chapter on art museums – who creates and owns them, what they exhibit, and what function they serve. Links with big business and even international politics are explored, but at the end we are no closer to knowing what makes good art. It is less an explanation of art theories and more an introduction to themes and topics in the study of art, with particular emphasis on contemporary art from a largely American perspective.

But finally she does get round to two theories for the interpretation of art – what she calls expressionist and cognitive theories. She argues, quite reasonably, that there can never be a ‘right’ or ‘wrong’ interpretation of a work of art – only ones which are more insightful, well-informed, and ultimately more persuasive than others. This is more or less the same conclusion as Jonathan Culler’s in his very short introduction to Literary Theory.

One very good feature of her presentation is that whilst clearly rooted in visual arts (painting and sculpture) it ranges widely over others: architecture, music, performance and video art, and even Japanese Zen gardening get a mention.

Despite my reservations, I think this is a book which will encourage readers to think more widely about questions of what is or is not art; the possible relevance of an artist’s gender; and the changing social significance of an art work according to the context into which it is placed.

These are interesting as well as cheap and cheerful introductions – and they come complete with a full critical apparatus plus suggestions for further reading.

© Roy Johnson 2005

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Cynthia Freeland, Art Theory : a very short introduction, Oxford: Oxford University Press, 2005, pp.158. ISBN: 0192804634


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Blogging, Citizenship, and Media

July 20, 2009 by Roy Johnson

When blogging first took off, the mainstream media (MSM) poo-poohed it, saying it was a fad that wouldn’t last. Next, they started lifting ideas and news from bloggers and quoting them without attribution. Nowadays all newspapers and broadcasters have their own featured blogs and urge their readers to supply copy. They have been turned around within about ten years. So citizen journalism, as Dan Gillmor called it, has arrived and only a fool would pretend otherwise any more.

Blogging, Citizenship, and MediaMark Tremayne’s collection of academic essays takes this fact as a starting point and looks at the current state of blogging as a cultural phenomenon. What are the facts, as revealed? Well – that the number of blogs continues to rise exponentially, that most have single authors, the majority of whom are adult males, the most popular feature political comment, and that only a small percentage generate comments from their readers.

It’s pointed out that most blogs are in the form of personal diaries, but unlike conventional personal records they are intended to be read by others. And indeed, readers can add their own responses in the form of comments.

Whilst traditional journalism provides individuals with pictures of a world they cannot experience firsthand … blogs operate in the opposite direction, broadcasting the pictures in our heads back to a worldwide audience.

Many of the early chapters are academic studies of blog postings and activity – mainly focused on US political blogs around the period of the 2004 elections and the invasion of Iraq. There’s a lot of technical data related to the way comparisons were made, and the language of discussion is rather abstract and heavily jargonised

Homophily theory underlies Sunstein’s (2000, 2002) work on hate group polarization and cybercascades theories within the Internet’s effect as deleterious to democracy because it enlarges fragmentation, insulation, and enclave deliberation.

It’s largely a sociology of Web use, the motivation of bloggers and blog readers, and the reliability of sources. The latter part of the collection deals with the impact of blogging on traditional journalism. Does the freedom of the press enshrined in the First Amendment apply to bloggers? And if not, why not?

There’s also an extended consideration of international jurisdiction in libel and defamation cases. Where should a case be brought – in the country where the offending material is downloaded for reading, or where it is stored on servers? The answer to this question seems to vary, depending on the case, the country, and the legislation. The same is true of copyright infringement cases, though the good news is that the costs of prosecuting across national boundaries are so high that individual bloggers are unlikely to be pursued.

The main thrust of the pro-blog argument is supplemented by a report of a citizen journalism project – MyMissourian.com – which set up a community blog in one month using free open source Mambo software. Within a year it had gone from online blog to supporting a print edition.

Mark Tremayne sums up all these issues and looks at the future of both blogging and traditional media. It’s obvious that individual bloggers won’t suddenly replace large-scale news-gathering organisations, but they might have significant impact at a local micro-news level. News organisations might start to invite citizen journalists to create content (as the Guardian is already doing on its in-house blogs ‘Comment is Free’).

There’s also a future for individuals in database journalism in which existing sources are mined for original analyses and comment. And the Wikipedia project proves that the combined efforts of individuals can add up to an overwhelming whole.

What’s certain is that the print and broadcast media are losing their traditional audience and power, the bloggers are gaining in strength and number, and journalism has a new force to be reckoned with.

© Roy Johnson 2007

Blogging, Citizenship, and Media   Buy the book at Amazon UK

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Mark Tremayne (ed) Blogging, Citizenship, and the Future of Media, London: Routledge, 2007, pp.287, ISBN: 0415979404


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Canonising Hypertext

June 17, 2009 by Roy Johnson

putting literary hypertext into the curriculum?

I remember first coming across hypertext in the early 1990s, and feeling that it was like a glimpse of a newly discovered world. Ted Nelson, Jay Bolter, and George Landow all became my heroes overnight. There wasn’t much you could do with it in those days, outside struggling with a few bits of proprietary software such as Hypercard. But as soon as we got the Web, HTML and the first browser (Mosaic: still got my copy) – we were away!

Canonising HypertextSome hyperfictions had been written at that time – and more have since: stories which exploit the possibilities of non-sequential narratives, hyperlinks between pages (or lexia), multiple navigation systems, and reader-generated choices. Astrid Ensslin thinks these creations deserve more attention. Indeed, she wants to argue that they should be included in the ‘canon’ of literary studies – and this is a book-length explanation of why that should be.

But along the way she takes in lots of other issues. the current state of hypertext writing; educational theories and policies; debates regarding the ‘canon’ of English literature; and IT skills in the classroom. It is something of an uphill struggle, because she is surrounded wherever she looks by a lack of evidence to support her claim or any enthusiasm for its implementation.

As a postmodern critic, she is sceptical about the very notion of a canon, yet she is eager to see examples of hypertexts included within it – seemingly oblivious to the fact that it takes a long time for any writer to be canonized. Even modern classics such as D.H. Lawrence and James Joyce were censored and banned before they became a part of Eng. Lit.

So in the absence of any hypertext in the canon of English Literature, she is forced to propose her own. These turn out to be the fairly well-known Michael Joyce (afternoon), Stuart Moulthorpe (Victory Garden) and Jayne Yellowlees Douglas (I Have Said Nothing). These are the ‘first generation’ of hypertext writers. There are ‘plot summaries’ so far as this is possible with non-sequential writing, yet even whilst making great claims for their work, she is curiously reluctant to quote from them to prove that these qualities exist. [I have checked out the work where it’s accessible, and I can tell you that there is nothing to get excited about.]

[As an aside, I simply cannot understand why so many of these writers imprison themselves within the confines of proprietary software (Eastman’s Storyspace) when the vast, free, and ubiquitous resources of HTML-based multimedia is open to them. Maybe it’s because Eastman also acts as a publishing house, and sells their products on its site?]

She then makes something of a swerve – into the realms of the philosophy of education – before getting back to hypertext in the classroom. There, to what should be nobody’s surprise, there is little evidence of its being used to its full potential, let alone being ‘canonized’. Ensslin huffs and puffs at length considering what could be done, what might be done, and what should be done about it. She even spells out the curriculum for a project she ran – and shows the results, which were ‘encouraging’.

Does any of this alter the potential of literary hypertext? I’m afraid not – because she ignores two very important factors. Number one – every day, millions of people are reading and writing hypertexts on blogs and Wikis (two terms which only crop up once in the whole book). Of course she would argue that the sort of hypertexts she has in mind are creative, literary, and fictional – whereas the majority of bloggers are writing non-fictional prose.

Number two – It doesn’t seem to occur to her that hypertext simply isn’t an appropriate medium for imaginative literature. This is because it lacks the features which readers value very highly in imaginative literary genres – a highly organised and very subtle sense of structure in the work. We like tightly organised plots, themes, symbols, and carefully articulated stories. These are what separate ‘literature’ from plain prose. Moreover, we have prized equally highly, since the middle of the nineteenth century, a subtly controlled point of view. This is not possible if the reader is genuinely free to take any route through a collection of documents or pages.

I have to warn you that she writes in a style which is designed to impress academic promotion committees – turgid, abstract, clotted with qualifiers, over-signposted, and dripping with ‘scholarly references’. At one point I began to suspect that the book might be an undeclared research project – perhaps a postgraduate dissertation or thesis.

Nevertheless, for anyone interested in the subject of electronic writing, hypertext, or experimental narratives, I think it’s worth grappling with the difficulties to get an up-to-date view on the issues.

© Roy Johnson 2007

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Astrid Ensslin, Canonizing Hypertext, London: Continuum, 2007, pp.197, ISBN: 0826495583


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Common Reading

June 11, 2009 by Roy Johnson

writers, critics, intellectuals, and their audiences

Alternative titles for this collection of literary essays might be The Last Men of Letters, Critics and the Marketplace, or even (to choose the sub-titles of two other Stefan Collini books) Essays in History and Culture or Intellectuals in Britain – because it is largely a study of writers 1920-1960 who earned their living as journalists and critics in the world of literary magazines and journals. But Common Reading is also a consideration of their readership, how they have been forced to change over the years, and the state of intellectual biography in the twenty-first century.

Common ReadingHe describes the collection himself as ‘exercises in intellectual portraiture [and] the nature of the diverse public for whom these figures wrote, and … the cultural traditions and institutional frameworks within which they operated’. The first half of the book is a series of literary portraits of critics and what he calls ‘public intellectuals’ – Cyril Connolly, Edmund Wilson, George Orwell, E.H.Carr, E.P.Thompson, Perry Anderson, and even Roger Scruton.

The second half is a series of extended essays on literary and intellectual culture as reflected in journals and magazines, including those for which he himself writes, such as the Times Literary Supplement. He speaks from deep within the cultural establishment – Professor of English at Cambridge – but the essays are pitched at the same level as the work he is describing: that is, they are well informed without being overly academic, and accessible to the common reader without being over-simplified or condescending. I was interested to see that he endorsed Perry Anderson’s critique of contemporary academic writing as suffering from ‘peer-group fixation, index-of-citations mania, gratuitous apparatuses, pretentious jargons, [and] guild conceit’.

This is not to say that he is against scholastic rigour. His essay on two biographies of George Orwell offers a bravura display of examining the value of literary evidence in making factual or historical claims about a personal life. He makes similar analyses on the ‘Art of Biography’ (as Virginia Woolf calls it in her essay on the subject) in the case of a critical account of the successful-but-ineffectual Stephen Spender written by John Sutherland.

He also does an excellent line in biography as critical reassessment. There’s a devastating piece on Andre Malraux – art-thief, self-appointed hero of a war he avoided, and non-elected politician – which has one wondering how anybody was taken in by such frauds in the first place. Similarly with the living, his analysis of Roger Scruton (Hegel in Green Wellies, Roger of Salisbury) leaves the fustian so-called philosopher in tatters at the end of half a dozen pages.

The style of Collini’s writing is something of a curious mixture. He embraces the long cadences and deeply nested qualifying clauses of the early twentieth century in which he is clearly so well read. But his jokes, casual references, and asides are offered in a pungently modern fashion. He’s writing for an intellectual audience, and he expects you to keep up.

He’s dealing with the same sort of issues as John Carey in The Intellectuals and the Masses – the relationship of intellectuals to the audiences which consumed their work. And like Carey he offers fascinating glimpses into the social and political culture of the literary professional – complete with how much they earned, how many books they sold, and how their critical reputations have risen (and often fallen again) in the last half century.

These are studies in literary and cultural history of a very high order. I’m slightly embarrassed to admit that I hadn’t come across Collini’s work before, but I now look forward to working my way through his considerable back catalogue.

© Roy Johnson 2010

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Stefan Collini, Common Reading, Oxford: Oxford University Press, 2009, pp.384, ISBN: 0199569797


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Contemporary Art: a short introduction

July 19, 2009 by Roy Johnson

New movements in art 1989—2005

Contemporary art has hardly ever been as notorious as it is today. We need all the help we can get in understanding sharks pickled in formaldehyde, unmade beds, paintings which feature elephant dung, and people having live cosmetic surgery as a form of performance art. Julian Stallabrass clearly knows this world and what is going on in it, and his book is a spirited attempt to situate and explain work which is breaking every known boundary. You’ll have to be prepared for an introduction which is largely devoted to a study of contemporary politics and economics, because he clearly believes that these have a direct effect on art via the close connections between art galleries, museums, and exhibitions and investors from the corporate world.

Contemporary Art: a short introductionThese are the people he believes are controlling the art world today. He covers performance art, painting, sculpture, installations, and mixed media, no matter how bizarre. But the problems is that he tends to analyse works in relation to what motivated the artist – political protest, social outrage – making no attempt to say how valuable they are artistically. And most of his argument is posed in the form of abstract generalisations. This has the effect of holding the reader a long way off, remote from the art itself.

One of his central arguments is that art is gradually merging with fashion and advertising. But this claim is founded on two weaknesses. The first is that he takes the claims of all the artists at face value without any attempt at critical evaluation. The second is that he doesn’t make any attempt to place his examples in any sort of historical perspective.

The latter part of the book deals with the relationship between art and money, and the current state of art criticism. He has some interesting revelations to make about price fixing, corporate investment, and secret deals as a means of inflating reputations – and we feel no shame in the schadenfreudliche thrill of learning that some speculators have lost their shirts to the tune of 99 percent on their original investment.

One other feature struck me as odd or unconvincing. It’s that many of the examples he discusses are ‘projects’ which are clearly forms of political activity. Not just propaganda, but demonstrations, protests, and even theoretical discussions masquerading as works of art.

I was glad to see that he concluded with examples of Internet art, but once again, because of his bias in favour of protest, most of the sites had been closed down by the time I came to check them.

© Roy Johnson 2006

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Julian Stallabrass, Contemporary Art: A Very Short Introduction, Oxford: Oxford University Press, 2006, pp.154, ISBN: 0192806467


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Cradle to Cradle

July 8, 2009 by Roy Johnson

re-thinking the way we make things

Cradle to Cradle is the programme for a philosophy of ecological design principles based on a consciousness of the global environment. IT raises fundamental issues about sustainability, well-used resources, and sensitivity to eco-systems. The authors are an architect and a chemist who between them tackle issues from major construction projects, to the design of shampoo and re-cyclable running shoes. It’s a work whose primary purpose it to make you think about design issues. Don’t expect glamorous colour photographs or examples of slick kettles and toasters – but be prepared to have your notions of ‘waste’ and ‘re-usability’ challenged in a radical manner.

Ecological DesignTheir stated aim is to re-think the way in which everything is made. And though they posit a very radical philosophy of using design intelligently, they are not reactionary when it comes to modern industry. In fact the book starts with an account of the Industrial Revolution which focuses on many of its good intentions – before listing its contemporary weaknesses in terms of the world’s ecology. They make their case for eco-consciousness using the very book itself:

It is printed on a synthetic ‘paper’…made from plastic resins and inorganic fillers. This material is not only waterproof, entirely durable, and (in many localities) recyclable by conventional means; it is also a prototype for the book as a technical nutrient’, that is, as a product that can be broken down and circulated indefinitely in industrial cycles – made and remade as ‘paper’ or other products

Good you might think: but the book is surprisingly heavy, and (though most people don’t know this) the biggest part of the cost of getting printed books to the public is transportation costs, based on weight.

They are also critical of what they see as shortsighted attempts to solve ecological waste by recycling:

your [recycled] rug is made of things that were never designed with this further use in mind, and wrestling them into this form has required as much energy – and generated as much waste – as producing a new carpet

The solution often proposed for these problems is called eco-efficiency – ‘doing more with less’. But they suggest that this just gives the appearance of social concern without changing the basic systems of industrial production. As they put it, ‘Being ‘less bad’ is not good: it is to accept things as they are.’

Examining the relationship of human beings to the planet at a very fundamental level, they come up with an interesting concept – that there is really no such thing as ‘waste’. Because when we throw things away, they do not go away. Indeed there is and can be no ‘away’. These things stay with us even if they are dumped in landfills, and even if they are incinerated we are still left with the by-products of combustion (including the CO2).

There is no need for shampoo bottles, toothpaste tubes, yogurt and ice-cream cartons, juice-containers, and other such packaging to last decades (or even centuries) longer than what came inside them

Some of the ideas they propose as alternatives seem rather fanciful. Recyclable televisions for instance: could their internal parts really be cost-effectively extracted and re-used? Running shoes with replaceable soles? But they do claim to have had a success with an upholstery fabric which is bio-degradable.

They are very much in favour of using local materials (think how wasteful it is transporting them from afar) and encouraging the use of local labour, which promotes the local economy.

It’s a book crying out for graphic illustration – particularly when they come to describing the ecologically positive buildings they have designed – with grass-carpeted roofs and tree-lined interiors. Nevertheless, I think this may well be one of those modern design classics which will find its way alongside Donald Norman’s The Design of Everyday Things and Viktor Papanek’s Design for the Real World as a standard text on every design curriculum.

© Roy Johnson 2002

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William McDonough and Michael Braumgart, Cradle to Cradle, New York: North Point Press, 2002, pp.193, ISBN: 0099535475


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