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Texts being produced by a computer and not written by an author, require indeed a very special way of engrammation and, in consequence, also point to a specific way of reading particularly concerning all the aspects of the literary time.
In my paper, I will try to present some of the characteristics of generative texts and their consequences for the conception of literature itself.
I call "engrammation" the adaptation of expression wills to the technical constraints of the medium used for its mediatisation. For instance, a book needs a fixed writing, and the mediatisation by means of a screen needs other modalities of presentation.
That means a literature of which the author does not write the final texts but which only works at the level of the high rank components such as: A text without an author generally seems to be out of question.
Such a designation seems to describe an impossible literature because, despite the fact we generally assume that there is a very strong link between a text and its author, in this case the author is separated from the text. In generative literature, there certainly also is an author but one who has not really written the text which is being presented to a reader, his function is not the one we usually assign to an author.
The tools of engrammation he uses are totally different. But at the end of the process there are also texts. Peu de choses laissent des traces: Les spirales des avenues trouent Montreuil: Des haut-parleurs diffusent partout le nom du dieu du jour! Indeed none of these texts will ever be presented to the reader for a second time and no reader will ever have the same set of texts.
Each text seems to be independent from the others. Such a situation seems to be rather natural for poetry.
A poem is a text by itself, each poem is entirely closed and supported by itself. But none of these texts will ever be read by any other reader unless, as here, they are printed as examples by way of exception but generative texts usually do not require to be printed. And even in that case, the reception of generative poetry is really different from the reception of non-generative poetry.
But, in this paper, I will speak about generative narratives, not about generative poetry, the concepts and approaches of which are undeniably rather different.
That implies that any text has a beginning and an end. Whatever games would be played on the diegetic axis, it undeniably is the basic structure of the narrative.
All the episodes of the narrative are organised along that structure. Such a situation is strongly underlined by the kind of medium which has usually been used to materialise the narrative: A book always has a first page and a last one and all the reading is done by taking into account this constraint.
We all know that. This does not imply that a reader cannot read back, but we also know that such an action is an exception from the rule and rather is an approach of researchers than that of an ordinary reader.
Hence it is the diegetic axis which structures all the conceptions of novels or short stories and a reading cannot stop at any point of that axis, more precisely, if a reading does stop at some point it is to let the reader dream or think about what he has just read, it is like an halt during the reading process.
The generative conception of narrative completely renovates such a situation. In a generative novel indeed there is an equivalence principle at every point of the narrative which is dependant on generation.
At these points a text is only a temporary specimen of an infinite family of virtual texts. In general, the diegesis includes all the events that allegedly have occurred, including actions and spaces not explicitly described, most of them are however offered or suggested to the reading in the book.
In generative fiction, at the contrary, most of the texts will never be offered to the reading: The two texts quoted above, for example, are not topologically situated on the diegetic axis one before the other but are produced for the same point of that axis: More than that there is — at this point — an innumerable number of virtual texts but, however, each of them has a function within the narrative process: One text can then be read as an alternative for all the others but it can also be read before or after one another.
There is, on that point, no obligation. I am not talking of prolepsis anticipation or analepsis back reading which are the two main rhetorical tools used by a writer to build his story.
Because prolepsis and analepsis can only be understood from the perspective of linear reading. There is neither prolepsis nor analepsis in the reading, the reading is linear and always backwards: In that case, the classical literary theory adopts the writer's point of view, not the reader's, it supposes that the diegetic axis can be cut in parts which can be easily displaced on it.I'm writing a story in the voice of a pre-teen and I want to get across the text culture she lives in.
I tried writing the story using spelling she would write in a text, but I'm not sure it's working. Sep 24, · Generative writing allows a fiction writer to:(Points: 3) generate new ideas for possible plots, characters, and settings develop characters into well-polished protagonists and antagonists review the plot, setting, and characters for revision write true accounts of characters' lives iridis-photo-restoration.com: Resolved.
Jan 22, · In Theodore Roethke’s poem My Papa’s Waltz, how might the rhythm be described? “regular” and “like a dance” In exploring uses of sound in poetry, a writer might use the generative writing step to: experiment with different sound techniques In writing poetry, generative writing is a way to: explore different types of poems and techniques.
Generative writing allows a fiction writer to: generate new ideas for possible plots, characters, and settings A sub-genre that is often concerned more with style and theme than with plot is called.
The difference between generative writing and drafting is: generative writing brings up ideas, drafting develops one idea. generative writing develops one 5/5(1).
Dec 03, · literary fiction and science fiction Question 3. 3. Generative writing allows a fiction writer to: (Points: 3) generate new ideas for possible plots, characters, and settings develop characters into well-polished protagonists and antagonists review the plot, setting, and characters for revision write true accounts of characters' lives Question iridis-photo-restoration.com: Open.