Literary reading on paper and screen

As Mauro Carbone states, screens are ambiguous objects. In this paper I want to deal with a particular kind of ambivalence in literary reading by focusing on the potential effects of the transition from reading on paper  to reading on screen. In particular, I want to consider the issue of immersion, recalling Rita Felski’s stance that engagement is fundamental for the aesthetic experience. While empirical studies fail to recognize any kind of difference between screen and paper regarding the issue of engagement, my aim is to broaden horizons showing the effects of hyper-reading and discussing the crisis of attention. At the end of this article, I will briefly notice that the ‘problem of reading’ is a social, instead of individual, problem.

Bu araştırmanın amacı, sınıf öğretmeni adaylarının okumaya ilişkin algılarının incelenmesidir. Araştırmanın katılımcılarını Artvin Çoruh Üniversitesi Eğitim Fakültesi İlköğretim Bölümü Sınıf Öğretmenliği Programı’nda öğrenim gören 56 öğretmen adayı oluşturmuştur. Bu çalışma bir durumu betimleme amacı taşıdığı için nitel araştırma yöntemi benimsenerek gerçekleştirilmiştir. Sınıf öğretmeni adaylarının okumaya ilişkin algıları açık uçlu sorulardan oluşan yarı yapılandırılmış görüşme formuyla toplanan verilere dayalı olarak betimlenmeye çalışılmıştır. Sorulan açık uçlu sorularla öğretmen adaylarının kitap okuma alışkanlığına sahip olma durumları, okuma deneyimleri, ilk ve ortaöğretimdeki okuma çalışmalarına ilişkin algıları, okuma becerileri bakımından kendilerini ne kadar başarılı saydıkları, okumayı sevmedikleri tür ve konular, kitap okumalarını engelleyen temel nedenlere ilişkin görüşleri ve okurken yaşadıkları temel sıkıntılar tespit edilmeye çalışılmıştır. Araştırma sonunda okuma becerisinin gelişimini sağlamaya yönelik öneriler sunulmuştur.

Classical hermeneutics, firmly rooted in the interpretation of
cultural artifacts, stands at the precipice of a transformative
paradigm shift as interactive digital networks pervade our
existence. This essay probes the fundamental transformation
brought about by technology, positing it as a dynamic
hermeneutic agent with a dualistic magnification-reduction
structure. This challenges the conventional notion of technology
as a mere replica of reality, demanding a critical re-evaluation
of its interpretational potency and its profound impact on
comprehension and consequence. Digital hermeneutics unfurls
along two distinct trajectories: one focused on the analysis and
interpretation of digital-native texts and databases, while the other
delves into the intricate dynamics of intentionality in human-AI
interactions. The proliferation of digital ontologies necessitates
a refined interpretive logic capable of navigating the intricate
terrain of humanities research. By engaging with foundational
hermeneutic theorists, this essay underscores the materiality
intrinsic to language and underscores the transformative potential
embedded in signs, symbols, and narratives. It interrogates the
implications of digital texts, dismantling established constructs of
narrative identity and fostering avenues for dynamic and evolving
expressions of meaning. By critically addressing the materiality  of meaning sources and the transformative prowess inherent
in digital texts, this comprehensive study lays a foundation for
an enhanced hermeneutical framework adept at navigating the
intricate web of contemporary communication and information
networks.

Literatronic is an adaptive hypermedia system for hypertext fiction. Its adaptive features are based on an algorithm that simulates a Hamiltonian cycle on a weighted graph. The algorithm maximizes narrative continuity and minimizes the probability of loosing a reader's attention. The metric for this optimization is defined as the minimization of hypertextual friction and hypertextual attraction. We consider the challenges involved with modeling such hypertext, and we offer specific examples of this type of adaptivity.

Resumo: Neste texto, percorrendo um itinerário reflexivo sinalizado pelas legendas que percorrem a obra de alguns destacados autores portugueses, analisa-se a forma diversificada como a leitura de um texto se desenvolve, dissolvendo a voz do autor/poeta no âmago do leitor. Desde a imagem estampada na capa, passando pelo título e pela(s) epígrafe(s), o texto se anuncia e se antecipa ao leitor, gerando uma expectativa que só se consumará através da sua leitura integral. A experiência estética do autor, que se faz representar/reconhecer através do diálogo intertextual, numa progressiva evidenciação da sua memória metamórfica, sobrepõe imagens que desencadeia um efeito de hesitação e suspensão no leitor. Dessa forma, o mundo ficcional, sinédoque e símbolo de um real envolvente, torna-se comum ao escritor e ao leitor, enredando-os num jogo de percepções e reconhecimentos, onde as suas memórias e os seus fantasmas, revelados através de uma objetiva panorâmica, afloram, o que pode tornar a ambos cúmplices ou promover o seu afastamento. Palavras-chave: Leitura. Memória. Expectativa. Literatura Muito frequentemente, a leitura é condicionada de um modo que impõe o reconhecimento da dimensão artística da obra, limitando o espaço da sua recepção. Diversos processos servem essa estratégia e esse objetivo. Um deles é a evocação intertextual. Seletiva, reflexiva, responsável pela (dis)semelhança inerente à vida e morte da imagem estética, às metamorfoses que Dalí consagra em Persistência da Memória (1931), com imagens em liquefação e escorrência mnésica. Ela clama por reconhecimento e, portanto, pelo leitor capaz de o fazer. Mas também cria e mantém um segundo plano onde o evocado vibra, repercutindo-se na superfície do primeiro. Pode sugerir uma "linhagem" estética, mesmo inesperada. Ou apenas evidenciar a semelhança ou a diferença, ou, mesmo, o diálogo entre textos. Ou compendiar sinais para a leitura do texto onde ocorre. Quando a letra evoca um texto das artes plásticas, a imagem

This paper defends the idea that literary works can be vehicles of what has been called experiential knowledge; that is, literary works can offer knowledge of what it is like to have a particular kind of experience. After reviewing some of the critiques this epistemological conception of literature has recently received, I offer a reading of one of its earliest formulations, found in Dorothy Walsh's book Literature and Knowledge (1969), which I believe is still relevant to contemporary discussions on the topic. By combining some key insights from Walsh's account with John Dewey's understanding of experience as a form of undergoing, I argue that literary works can give a sense or a feel of what it is like to experience something, while acknowledging that there are also some important differences between literary and real-world experiences. I illuminate my own understanding of experiential knowledge by analysing the account of the experience of social death in Toni Morrison's novel Beloved (1987). I am especially interested in identifying the stylistic and literary techniques behind the experiential knowledge I believe the novel offers. The paper ends by providing a closer examination of the character of the literary experience underpinning experiential knowledge and by putting forth reasons why experiential knowledge should be considered a serious epistemic notion.

El presente estudio examinó la comprensión de textos expositivos y narrativos en pantalla y su relación con las funciones ejecutiva, los hábitos lectores y el soporte preferido (papel o pantallas) para lectura de
estudio o recreativa, en estudiantes universitarios. Participaron noventa y ocho estudiantes universitarios (76.8% mujeres, edad promedio: M = 20.6, DS = 5.24 años), quienes completaron una tarea de comprensión
de un texto expositivo y uno narrativo presentados en pantalla, una evaluación computarizada de las funciones ejecutivas (memoria de trabajo, flexibilidad cognitiva, inhibición), una encuesta de hábitos
lectores y un test de reconocimiento de autores. La memoria de trabajo fue un predictor de la comprensión en general, mientras que la flexibilidad se asoció al texto expositivo. La exposición a la ficción contribuyó específicamente al texto narrativo. Los alumnos acostumbrados a estudiar en pantalla tuvieron un mejor
desempeño en el texto expositivo que quienes prefieren el papel. La contribución de las funciones ejecutivas a la comprensión en pantallas es similar a la observada en estudios de lectura en papel. El efecto
del soporte preferido sugiere que la práctica podría compensar la modalidad de lectura más superficial que se observa típicamente en estudios de lectura en medios digitales.

With e‑readers, smartphones, notebooks, and tablets, new reading media have emerged whose haptics, spatiality, visuality, and materiality differ fundamentally from those of the traditional book. Electronic reading devices are characterized by a range of different text representations and distinct associated reading practices. This article will address the question of the concrete practices of literary reading on screens and the specific literary reading experiences on the basis of a laboratory experiment (N=207), a focus group study (N=34), and a quota-based online survey (N=779). The synoptic evaluation of these three published studies shows that a praxeological perspective in particular can yield important insights for understanding the differences between reading printed books and e‑books. The different material conditions of digitized and printed books result in different practices, both in terms of the quantity of what is read and the choice of text, the reading locations and reading situations, and the forms of acquisition and storage. However, both reading media fulfill different functions, go hand in hand with different reading practices, and complement rather than replace each other.

The purpose of this research is to determinate the opinions of 8 th grade students about reading on screen. The research has been conducted in accordance with the descriptive scanning model. The study group of this research consist of 30 volunteer students that have been0 :ömbvchosen by purposeful sampling among the 8 th grade students who study at the Öğretmen Ali Baykal and Şehit Alibey Secondary Schools in Eşme in Uşak. 50% of the students are boys and the other 50% of the students are girls. Having a personel computer has taken into consideration fort he students who are going to attend the interview. Data of the research has been acquired via the semi-structured interview form. 3 different questions have been asked to the students in the interview. Students' thoughts about reading on screen have been tried to receive via these questions. Content analysis has been used in the analysis of the students' answers, first the data has been coded and then the topics which explain the data in general level have been determined. In determination of the categories, literature, interview questions and the students' answers to these questions have been benefited from. According to results that have been acquired, students have both positive and negative opinions for reading on screen. In addition to this, most of the students generally prefer reading on screen to reading from printed material.

New developments in multimedia and hypermedia technology have raised important questions for the conduct and dissemination of sociological research. Attention has traditionally focused on uses of new media for teaching, but their application to research is now also becoming clearer. There has been particular interest-although little practical work so far-on how ethnographers might use hypermedia in planning, design, analysis, and presentation of ethnographic work. This article offers findings from the authors' current ESRC project, which examines the appropriateness of hypermedia for the production of ethnography. The theoretical and methodological implications for sociological knowledge of this new technology are discussed. The authors also address arguments about the potential for transforming the production of sociological knowledge through granting equal weight to the audiovisual plane of meaning as that given to the verbal and situate their discussion within debates over new forms of reading and authoring offered to sociology through electronic media.

The Education Quarterly Reviews is an Open Access publication. It may be read, copied, and distributed free of charge according to the conditions of the Creative Commons Attribution 4.0 International license. The Asian Institute of Research Education Quarterly Reviews is a peer-reviewed International Journal. The journal covers scholarly articles in the fields of education, linguistics, literature, educational theory, research, and methodologies, curriculum, elementary and secondary education, higher education, foreign language education, teaching and learning, teacher education, education of special groups, and other fields of study related to education. As the journal is Open Access, it ensures high visibility and the increase of citations for all research articles published. The Education Quarterly Reviews aims to facilitate scholarly work on recent theoretical and practical aspects of education.

Digital texts have for decades been a challenge for reading research, creating a range of questions about reading and a need for new theories and concepts. In this paper, we focus on materialities of texts and suggest an embodied, enacted, and extended approach to the research on digital reading. We refer to findings showing that cognitive activities in reading are grounded in bodily and social experiences, and we explore the cognitive role of the body in reading, claiming that-influenced by tacit knowledge and the task at hand-textual meaning is enacted through a mental and physical engagement with text. Further, applying the concept of affordances, we examine how digital technologies have induced new ways of physically handling and mentally interpreting text, indicating that brain, body, text, and technologies are integrated parts of an extended process of reading. The aim of the paper is to encourage empirical research on the interplay between body (including brain), text, and text materialities, a focus we argue will deepen our understand of the current transformation of reading.

Bilgi veya enformasyon çağı olarak adlandırılan günümüzde okuma becerisi kitap, defter vb. materyallerin dışında bilgisayar, cep telefonu, tepegöz, sunu, reklam panoları vb. araçlar için de kullanılır hâle gelmiştir. Ekran okuma olarak adlandırılan bu okuma türünün Türkçe öğretimi sürecinde öneminin kavranması ve uygulamada etkin bir şekilde kullanılması adeta bir zorunluluk hâlini almıştır. Bu araştırmada, ekran okuma türlerine yönelik sınıflandırma ve Türkçe öğretmeni adaylarının ekran okumaya yönelik görüşlerinin belirlenmesi amaçlanmıştır. İlgili alanyazın taranarak ekran okuma türlerine ait bir sınıflandırma yapılmıştır. Araştırmada betimsel tarama modeli temele alınmıştır. Giresun Üniversitesi Eğitim Fakültesi ve Karadeniz Teknik Üniversitesi Fatih Eğitim Fakültesi Türkçe Eğitimi Bölümlerinden 100 Türkçe öğretmeni adayı çalışma grubu olarak belirlenmiştir. Türkçe öğretmeni adaylarının ekran okumaya yönelik görüşlerini belirlemek için "Ekran Okumaya Yönelik Görüşme Formu" hazırlanmıştır. Araştırma sonucunda öğretmen adaylarının ekran okumaya yönelik hem olumlu hem de olumsuz yönde görüşe sahip oldukları belirlenmiştir.

Helping professionals are at risk of experiencing adverse health and psychological problems when working in roles where they are continually exposed to the emotional distress of others. The term compassion fatigue was coined to describe symptoms of emotional and physical fatigue experienced by workers in these environments. However, empirical research contends that compassion does not cause fatigue, rather compassion is said to foster well-being and is neurologically rejuvenating. The objective of this review was to examine the scientific literature which investigated the compassion-enhancing practice of loving kindness meditation (LKM). This review suggests that LKM can be seen as an alternate strategy to reduce stress, ease empathic distress, and increase positive affect.

Students’ preference for the medium of academic reading texts has been diversified in the modern era. Some students’ preference for attaining information and knowledge has been confined only to print media, some are found to be attracted to electronic media and some prefer to use both electronic and print media for their academic purposes. This article is based on the cross sectional survey carried out at nine campuses across Makawanpur district, Nepal in the Academic Year 2018-2019.The purpose of this study is to investigate the Bachelor of Business Studies students ‘preference regarding electronic and print media of reading texts. The researcher adopted simple random sampling to select 526 students from the population of 798students. To collect data, the researcher used a questionnaire regarding the students ‘preference for electronic and print medium of the reading texts. Frequency and percent statistics of students who preferred print medium of reading texts; and the frequency a...

Neste primeiro número do 21º volume da Revista Anuário de Literatura, mais uma vez, o leitor irá se deparar com um profícuo e heterogêneo encontro de estudos. Reunidos, certamente, em virtude da nossa missão primeira, a difusão do conhecimento novo e inovador na área de Literatura, Teoria e Crítica Literária. Assim, temos a satisfação de oferecer para apreciação uma produtiva compilação, diversa não somente na temática, mas também na fundamentação teórica que sustenta os trabalhos aqui apresentados, bem como na localização geográfica dos autores que, de norte a sul do país, compõem esse mosaico literário. O primeiro ladrilho 1 dessa imagem é de Raquel Wandelli Loth, que traz à tona o narrador-coruja, em Coruja, lobisomem, vaga-lume: o traço animal do narrador, a fim de * Doutoranda e Mestra em Literatura pela UFSC. Bibliotecária do Sistema de Bibliotecas da UFSC. Coordenou o Portal de Periódicos UFSC (2009/jun.2014). Integra a Comissão Editorial da Anuário de Literatura. ** Mestranda do Programa de Pós-Graduação em Literatura da UFSC e integra a Comissão Editorial da Anuário de Literatura. *** Mestranda do Programa de Pós-Graduação em Literatura da UFSC e integra a Comissão Editorial da Anuário de Literatura. **** Doutor em Literatura pela UFSC, integra a Comissão Editorial da Anuário de Literatura.

In the current media ecosystem, reading increasingly passes through the web and the screens of electronic devices. Contextually, we are witnessing a re- gression of traditional reading and the emergence of new reading practices. The loss of centrality of the book-form, the image becoming predominant over the written word, the reader’s dishabituation to long-form reading in favor of fast narrative rhythms, short and simplified textualities, information overload, and the use of ‘distractive’ reading devices undoubtedly have rele- vant consequences for comprehension processes. On the one hand, reading today becomes increasingly fragmented, but on the other hand, it acquires new social and participatory dimensions. In this scenario those who deal with reading cannot avoid a reflection that tries to understand ‘what we are losing and what we are gaining’ in the transition from paper to screen. This is obviously not a dispute between advocates of ‘traditional’ and ‘innovative’ reading practices. To promote reading, it is necessary to overcome this false dichotomy through a «reconciliation thinking», as called for by Pope Francis, while preserving the productive tension that is emitted when «opposing elements pull in opposite directions» (in Wolf, 2022, p. 288). A cognitive ten- sion that is fundamental to interpreting and managing the possible pitfalls and danger of cognitive and cultural behavioral impoverishment.

Research on Experimental Documents (RED) is the moniker for a small, interdisciplinary research group at Xerox PARC. We are eight researchers involved in the creation of new genres based on emerging media and technologies. We employ methods of speculative design and iterative prototyping while working in the mode of a design studio. Our current project, which we'll use as illustrative material, is the design and construction of twelve interactive exhibits for show in a hands-on technology museum.

Screen reading has become a way of reading that individuals often use as tablet computers and smart phones have come into daily life. In this regard, students often use screen reading in their daily lives as well as in the classroom environment with technological tools. The aim of this study is to develop a scale to measure students' attitudes towards screen reading. The draft scale were formed by evaluating the items prepared with this aim based on expert opinion. The participants were elementary fourth graders. The draft scale was administered to a total of 203 students, 98 female and 105 male, in elementary schools in the city of Denizli. Exploratory factor analysis (EFA) was conducted to examine the construct validity of the scale. This analysis revealed five sub-factors. The factor loading values of the items ranged between 0,89 and 0,53 in the first sub-factor, between 0,58 and 0,46 in the second sub-factor, between 0,69 and 0,47 in the third sub-factor, between 0,72 and 0,43 in the fourth sub-factor and between 0,71 and 0,31 in the fifth sub-factor. As a result of the analyses, "Attitudes Towards Screen Reading Scale (ATSRS)" consisting of 29 Likert-type items was finalised. The Cronbach's Alpha reliability coefficient was found as 0,83 for the first sub-factor, 0,70 for the second sub-factor, 0,71 for the third sub-factor, 0,82 for the fourth sub-factor, 0,77 for the fifth sub-factor, and 0,84 for the whole scale. Based on these results, the validity and reliability findings of the scale can be said to be at the expected level.

This paper presents a Heideggerian phenomenological analysis of screens. In a world and an epoch where screens pervade a great many aspects of human experience, we submit that phenomenology, much in a traditional methodological form, can provide an interesting and novel basis for our understanding of screens. We ground our analysis in the ontology of Martin Heidegger's Being and Time [1927/1962], claiming that screens will only show themselves as they are if taken as screens-in-the-world. Thus, the phenomenon of screen is not investigated in its empirical form or conceptually. It is rather taken as a grounding intentional orientation that conditions our engagement with certain surfaces as we comport ourselves towards them "as screens." In doing this we claim to have opened up the phenomenon of screen in a new and meaningful way.

Este estudio se realizó en un contexto en el que hay una baja presencia de dispositivos de lectura digital, partiendo de la premisa de que el uso de dispositivos de lectura electrónica implica una relación instrumental con un objeto técnico que puede caracterizarse como una relación de mediación. En el marco de esta investigación se utilizó el análisis temático de narraciones documentadas, pruebas de lectura y entrevistas con una muestra intencional de lectores y editores, con el objetivo de explorar la pertinencia de caracterizar las relaciones de mediación que los lectores de textos de literatura en pantalla establecen con los dispositivos electrónicos a través de su experiencia. Las conclusiones indican la necesidad de prestar apoyo al lector; esta caracterización es un requisito importante para diseñar experiencias de lectura. Por consiguiente, las relaciones de mediación que los lectores establecen con los dispositivos electrónicos son, en principio, en el primer contacto, de a...

araştırmacılar tarafından geliştirilen yarı yapılandırılmış görüşme formu kullanılmıştır. Elde edilen veriler, nitel araştırmalarda sıklıkla kullanılan içerik analizi yöntemi ile değerlendirilmiştir. Araştırma sonucuna göre Kırıkkale Üniversitesinde öğrenim gören öğrencilerin Fontys Üniversitesi öğrencilerine kıyasla e-kitaba ilişkin olumlu düşünceye sahip oldukları tespit edilmiştir. Ayrıca Kırıkkale Üniversitesinde e-kitap aracına sahip olan ve kullanan öğrenci sayısının Fontys Üniversitesine göre daha fazla olduğu sonucuna da ulaşılmıştır. Genel olarak ise iki üniversitede de öğrenim gören öğrencilerin benzer olarak kitap okuma alışkanlıklarını basılı kitaplar üzerinden devam ettirdikleri, e-kitap okuma alışkanlığına sahip olmadıkları görülmektedir.

The present study examined two common mechanisms that are used to explain why reading on an electronic screen versus paper result in different reading outcomes: The Cognitive Map Mechanism and the Medium Materiality Mechanism. A laboratory experiment (N ¼ 45), was conducted using a threegroup comparison design (paper book vs. digital equivalent vs. digital disrupted view). Our hypotheses that were based on the cognitive map mechanism were largely supported. On the other hand, our hypotheses following the medium materiality mechanism were not sufficiently evidenced. Specifically, our results showed that the paper book was similar to its digital equivalent, and both were better than the digital disrupted view in terms of reading comprehension, feelings of fatigue, and psychological immersion. The findings implied that it is not the materiality of the presentation medium that influences reading outcomes, rather it is the extent to which the text presentation facilitates, or impedes, the reader's ability to construct a cognitive map that influences the reading process. Implications for future research and practice are discussed.

Bu çalışmanın amacı, okunan bir metnin yazılı olduğu ortam özelliğinin (kâğıt türü ve tablet ekranı), öğrencilerin okuma hızı ve okuduğunu anlama düzeyi üzerinde etkisini belirlemektir. Araştırmada nicel araştırma tekniğinden yararlanılmıştır. Araştırma verileri "Okuma Metinleri" ve "Okuduğunu Anlama Testi" ile elde edilmiştir. Çalışmada kullanılan metinlerin yazılı olduğu dört farklı ortam araştırmanın bağımsız değişkenleri olarak belirlenmiştir. Bu değişkenler; sarı saman kâğıdı, beyaz kâğıt, kuşe kâğıt ve tablet ekranıdır. Çalışmanın yürütüldüğü öğrenci grubunun okuma hızları ve okuduğunu anlama düzeyleri de araştırmanın bağımlı değişkenini oluşturmaktadır. Araştırma verileri, 2019-2020 öğretim yılında Tokat ili Merkez ilçesindeki ortaöğretim kurumlarında öğrenim görmekte olan rastgele seçilmiş 9 ve 10. sınıf düzeyinde 388 öğrenciden elde edilmiştir. Elde edilen veriler IBM SPSS istatistik programında analiz edilerek değişkenler arasında anlamlı farklılıklar araştırılmıştır. İlk olarak ekrandan okuma ile kâğıttan okuma karşılaştırması yapılmıştır. Bu karşılaştırma sonucunda gerek okuma hızı gerekse okuduğunu anlama düzeyi bakımından ekrandan okuma ile kâğıttan okuma arasında anlamlı bir ilişki bulunamamıştır. İkinci olarak okunan metnin basılı olduğu kâğıt türü ile okuma hızı ve okuduğunu anlama düzeyi arasındaki ilişki araştırılmıştır. Metnin basılı olduğu kâğıt türü ile okuma hızı ve okuduğunu anlama düzeyi bakımından da anlamlı bir farklılaşma tespit edilmemiştir.

Contemporary digital art projects are often dominated by an emphasis on the technology. What is striking is the uncritical approach taken towards the use of much of this technology in contemporary art projects. There is also the idea that interactivity and reflection interfere with each other, which seems to follow on from the idea that a medium is either invisible (like a mirror of 'reality') or mediated. The assumption is that it can't be both or that as participants we cannot multi-task or switch between modes of reception. Artists and theorists in digital media also tend to focus on the technological, ignoring the role of reception. In terms of making the works, technological requirements are distinctive, but we do not discuss literature in terms of the technical requirements and potential of the printing press, but from the point of view of the reader. My position is that any art form is primarily a question of achieving engagement, which as Rosalind Picard states, relates to our emotions. While she adds that "emotion theorists still do not agree even on a definition of emotion," she argues that "we can base solid facts and knowledge on structures that are themselves imprecisely defined," just as we don't need to define whether Mt Everest is rock or ice, to discuss it. 1 This paper looks at how engagement can be mediated in digital art projects and whether this is significantly different to other media such as the novel, film or photography. This leads to questioning the dominance of cartesian spatial relations as the norm for visual expression.

Мета статті – простежити концепцію творення образу «нових людей» в ідеологічній повісті «Семен Жук і його родичі» Олександра Кониського, проаналізувати мотиви їхнього екзистенційного вибору. Дослідницька методика. У розвідці поєднано біографічний, історико-генетичний та культурноісторичний підходи вивчення літературного явища. Результати дослідження. Ідеологічна проза О. Кониського дозволяє простежити еволюцію образу народника, «нової людини» в українській літературі другої половини ХІХ ст. – від зародження, набуття досвіду шляхом реалізації «малих справ», етап «культурного опору», розчарування і до самознищення. Поява в українській літературі ідеологічної повісті була закономірним процесом, зумовленим новими суспільними умовами, пошуком нового об’єкта художньої обсервації та функціями, які покладалися на неї: пропагування нових ідей і виховання покоління української інтелігенції. Ідеологічні повісті Кониського віддзеркалюють ідейно-світоглядні переконання самого автора, вони цінні ...

Il lettore 'distratto'. Leggere e comprendere nell'epoca degli schermi digitali" di Andrea Nardi Dott. Andrea Nardi, Lei è autore del libro Il lettore 'distratto'. Leggere e comprendere nell'epoca degli schermi digitali, edito da Firenze University Press: quale rilevanza assume il dibattito relativo alle problematiche e alle implicazioni cognitive del passaggio da una lettura di tipo tradizionale, alla lettura digitale, online e su schermo?

Negli ultimi anni la questione relativa alle implicazioni cognitive ed educative della digital reading è tornata in auge in ambito accademico a seguito di una serie di fattori concomitanti: i) l'uso crescente di libri di testo digitali per l'attività didattica e la migrazione verso paperless classrooms in tutto il mondo (Meishar-Tal & Shonfeld, 2018); ii) l'affermazione di Internet come fonte principale per documentarsi, informarsi ed apprendere; il consolidamento di alcuni meccanismi di funzionamento degli algoritmi informatici che impongono regole alla diffusione delle informazioni e tendono a polarizzare idee, opinioni, credenze e pregiudizi (e.g. echo chamber e filter bubble, Pariser, 2011; Sunstein, 2009); l'ondata di disinformazione propagatasi durante l'emergenza sanitaria che ha distorto la comunicazione influenzando la comprensione degli eventi pandemici (Zarocostas, 2020); il timore man mano sempre più condiviso che l'incapacità di comprendere testi letti online possa pregiudicare la possibilità che i lettori hanno di 'difendersi' da una serie di narrazioni manipolatorie. L'ecosistema della lettura digitale è un oggetto complesso e variegato e «lettura digitale» significa oggi tante cose. Ci sono differenze sostanziali tra leggere un tweet, un post, una email, un articolo accademico online, una pagina web e fare riferimento a tutte queste pratiche come «lettura digitale» rischia di ignorare le differenze (Morris, 2016). L'esperienza di lettura che facciamo su un libro di carta e quella che avviene su molti e-reader sono ormai quasi del tutto comparabili. Allo stesso tempo quella di libri elettronici rappresenta una minima parte della complessiva lettura in ambiente digitale. Ed è qui che il dibattito assume oggi nuova rilevanza: quando non si guarda soltanto al 'leggere in digitale', al trasferimento di un libro cartaceo sul supporto elettronico, ma alla più ampia varietà di pratiche di lettura che avvengono online attraverso i nostri numerosi gadget digitali (Nardi, 2022a). La ricerca sul confronto tra lettura su schermo e lettura su carta è solo agli inizi ed è molto difficile stabilire gli effetti nel lungo periodo dell'uso del medium digitale sulle funzioni cognitive. La questione è inoltre molto complessa perché deve fare i conti con la multidimensionalità della lettura e quindi con l'indagine di aspetti ergonomici, cognitivi, attentivo-percettivi, emotivo-empatici, fenomenologici e socioculturali (Mangen & van der Weel, 2016). Ci sono però evidenti cambiamenti nelle pratiche dei lettori che ci avvertono delle possibili trasformazioni dei processi mentali (Wolf, 2018). Il passaggio dalla carta allo schermo è un processo spesso sottovalutato ma che riguarda principalmente il nuovo contesto della lettura e le abitudini cognitive che questo contesto incoraggia (Nardi, 2015; 2020a). Quando si analizzano i dati forniti dalle ricerche che hanno confrontato l'efficacia della lettura tradizionale e digitale dobbiamo però tenere in considerazione che ottenere risultati comparabili da queste indagini è un'operazione molto complessa per la molteplicità delle variabili in gioco (Kovac & van der Weel, 2020; Singer & Alexander, 2017; van der Weel & Mangen, 2022). Nonostante questo, i risultati degli studi vengono spesso decontestualizzati dalle condizioni sperimentali che li hanno prodotti, presentati di un modo semplicistico, e

У статті аналізується семантична категорія родів дієслівної дії в українській і сербській мовах. У плані змісту даної категорії виділено чотири комплекси значень: фазове, детермінативне, кратне та градуальне. У плані вираження виділяються і зіставляються синтетичні засоби — розряди характеризованих дієслів й аналітичні засоби — акціональні конструкції.

Resumo: O artigo trata da possibilidade de se analisar e compreender a leitura de literatura em meio digital a partir de um viés que tem a fenomenologia da leitura literária como base de reflexão, situando o corpo, nosso veículo de ser e estar no mundo e meio pelo qual realizamos e vivenciamos nossas experiências, como espaço de mediação entre texto e leitor. Para a construção do nosso entendimento de leitura, lançamos mão de postulados teóricos que têm Merleau-Ponty, Roman Ingarden, Wolfgang Iser e Jean-Paul Sartre como linha condutora. Concluímos afirmando que é preciso que a leitura de literatura em meio digital torne-se um hábito para o leitor, no sentido proposto por Merleau-Ponty, ou seja, que é preciso incorporar novas estratégias de leitura que, em alguns casos, são solicitadas pela nova configuração do texto literário.

This chapter explores the effects of literariness on readers' psychological and social understandings within and beyond literary texts. Literariness is introduced as (a) a function of specific textual features that create linguistic foregrounding and (b) the positioning of a text as literary through para-textual signifiers (such as non-fiction and fiction labelling). After a brief review of the history of research on literariness, we discuss empirical studies of the role of paratext (such as non-fiction and fiction labelling) in the processing of texts and connect this research to the concepts of identification and perspective taking. We introduce research on readers' responses to the formal features of narrative and highlight the role of literary techniques in the non-literary context of journalism.

Resumo: No poema Fuga da morte, Paul Celan nos apresenta situações vivenciadas por ele mesmo em um campo de concentração nazista, o que insere o poema no contexto da Literatura de testemunho; trata-se de um poema imbuído de alta carga dramática, no qual conteúdo e forma aliam-se para oferecer uma leitura densa, carregada de significado. Pode-se perceber, no poema, que o silêncio comanda a cena, exprimindo, por meio das diversas lacunas deixadas por uma linguagem fragmentada, aquilo que é difícil para o poeta exprimir, o que é indizível, o que leva o leitor a um sentimento de estranheza, apossando-se da significação apenas por etapas e por entre as lacunas. Este artigo aborda o poema a partir de conceitos relativos à Literatura de testemunho e a impossibilidade de representar o real (Roland Barthes); no plano formal, além de conceitos de Mikhail Bakhtin e de Barros e Fiorin sobre polifonia, dialogismo e interdiscursividade; além disso, partindo do conceito musical de fuga, conforme sugerido pelo título do poema e evidenciado no texto, é abordada a linguagem figurada-metáforas e metonímias, ironia e elipses, como estratégias do autor para enfrentar a aporia entre trauma e representação, tendo-se assim, uma poética do silêncio, nos quais as elipses e as metáforas adquirem papel fundamental.

Потреба задовольнити міжнародну наукову спільноту термінографічною інформацією, необхідність розбудови міждисциплінарних досліджень, що з’являються на межі взаємодії функціонально-прикладного бібліографознавства й прикладного термінознавства, е-бібліографії та е-термінографії, продукує запит сучасного інформаційного суспільства на створення та ведення електронних бібліографічних ресурсів1 як баз даних традиційних бібліографічних покажчиків (посібників). Виявом такої кореляції є складання зведеного бібліографічного покажчика Слов’янська термінографія (1990–2017) у традиційному форматі та формування на його основі багатомовної Термінографічної бази даних TERM_IN. Слов’янська термінографія (1990–2017). Над обома проєктами сьогодні успішно працюють члени Термінологічної комісії при Міжнародному комітеті славістів (ТК МКС).Теория и практика славянской терминографии, в частности переводной, сопоставительной, компьютерной, имеет свою специфику в разных странах, что свидетельствует о неравн...

The aim of this project has been to explore the possibility of applying Phenomenology and Classical Indian Theories to cinema with the hope that their systematic application would generate new insights in a deeper understanding of cinema. This need has been felt in the context of the existing film discourse having reached a stage of stagnation, even a “crisis”, in recent times. The reason for this moribund state of contemporary film discourse has been analyzed in my thesis as due to the failure of the existing film theories to incorporate film audiences‟ ordinary experiences of cinema, viz. the romance, the thrills, and the emotions which motivate them to come to the cinema halls all over the world. The film theories have failed to acknowledge the importance of this phenomenon which is built on the audiences‟ embodied experiences of the world and their socio-cultural practices that have grown on top of them which together form, at the very basic level, what constitutes the audiences...

Рецензія на монографію: Соболь В. Українське бароко. Тексти і контексти. – Warszawa: Wydawnictwa Uniwersytetu Warszawskiego, 2015. – 382 с.Review of the monograph: Sobol V. Ukrainian baroque. Texts and Contexts.– Warszawa: Wydawnictwa Uniwersytetu Warszawskiego, 2015. – 382 с.Рецензия на монографию: Соболь В. Украинское барокко. Тексты и контексты. - Warszawa: Wydawnictwa Uniwersytetu Warszawskiego, 2015 - 382 с

The paper first examines some of the ways in which identification of human/machinic intelligence with subjectivity as a philosophical construct has often been contingent on a cultural disjunction involving objective and subjective model-making that has long distinguished the two fields of science and the humanities. The second part of the paper proposes a rethinking of the subject/object dichotomy for selected narrative-based digital productions in order to assess their role in reconfiguring our 'language use'-instantiated "form of life," in the sense expressed by Ludwig Wittgenstein in his late philosophy.

While numerous literary researchers, readers, authors, and philosophers have tried to articulate the peculiar feeling of intimacy they have sensed in literary reading, new angles can still be brought to bear on this issue. This paper develops an account of the intimacy of literary reading based on three concepts: silent performance, routine, and trust. By combining an interpretation of the history of silent reading with an understanding of literary reading as a particular kind of performance, I show, in the first part, how a focus on some internal qualities of reading helps to understand its intimate nature. The picture of the intimacy of literary reading emerging from this account is then complemented with a look at the role of routines in our reading lives and of the sense of trust readers can sometimes feel toward authors. All these aspects of literary reading contribute, in different ways, to the sense of intimacy it can involve. The paper ends with a few observations on the state of this intimate experiential sphere in the increasingly digitalizing world.

La pandemia di Covid-19 ha reso ancora più urgente la questione di come formare i lettori del 21° secolo, per prepararli ad affrontare uno scenario mediale di economia dell’attenzione, disinformazione, infodemia e post-verità. Il presente contributo analizza le nuove sfide che i lettori devono fronteggiare, attraverso la lente di alcune questioni dicotomiche fondamentali per il presente e il futuro della lettura: informazione contro conoscenza; lentezza contro accelerazione; attenzione contro distrazione; noia contro iperattività. Quali sono le differenze cognitive tra la lettura digitale e la lettura su carta? Cosa rischiamo di perdere in questi conflitti? E cosa possiamo fare per continuare a comprendere quello che leggiamo?

The aim of the paper is to develop the concept of perceptual relation and to apply it to digital environments. First, the meaning of perceptual relation is phenomenologically analyzed and defined as the interaction between the whole and its parts, which is theorized by the founders of Gestalt psychology. However, this relation is not considered as an intrinsic, but as an extended one, implying also the relation with the surrounding world (Umwelt). Subsequently, this concept of extended relation is applied to a chosen object (a ball) as it is perceived in four different kinds of digital dimensions (on-screen, virtual, augmented, and hybrid). Through a phenomenological analysis, I argue that, whereas the whole-part configuration remains the same, some modes of appearance of the object (multisensoriality, figure-ground interaction, affordances, and persistence) are different. In order to define this dynamic, I have coined the concept of transdimensional analogy.

http://dx.doi.org/10.5007/2175-7917.2016v21n2p56O presente artigo tem por objetivo propor uma leitura de sobrevoo de alguns elementos da obra de Mário de Sá-Carneiro, buscando apontar, primeiramente, como a sua dimensão mítica, cultivada desde as primeiras edições de sua obra, marcou profundamente a leitura que dela se fez. Nesse sentido, trataremos do seu suicídio, retomado e reafirmado por nomes como Fernando Pessoa, José Régio, Casais Monteiro, por exemplo, e de como esse tema contribuiu para a cristalização do seu mito. Em um segundo momento, levando em consideração determinados temas e figuras que podem ser apreendidos nos textos de Sá-Carneiro, indicaremos outros caminhos de leitura, buscando em poemas, cartas e algumas das suas narrativas elementos que permitam entrever na sua escrita a presença do seu corpo. E é a descrição desse corpo, que repropõe noções como feminino e masculino, que nos parece ser aquilo que devemos considerar como inovador na sua poesia, na medida em qu...

In interdisciplinary or discipline-specific writing courses centering on literature, students and teachers may find themselves engaged in an uneasy commerce between two very different academic cultures. Much contemporary composition theory describes writing as a process embedded in a social context where knowledgeable peers collaborate on evolving texts (Fulkerson, 1990). Literary theory, on the other hand, attends to completed works by individual authors who have been validated by publication and by their inclusion in a recognized canon or counter-canon (Lanham, 1989). When students in these classes read, they learn to interpret authorized discourses in definitive editions duly disseminated by commercial publishers. When they write, they learn to regard their texts as provisional and spontaneous, open to critique and revision and, with only rare exceptions, never to be published. This polarity becomes all the more pronounced as student writers move from pencil and paper, through word processing, and on to soft copy, a technology in which writing no longer takes the form of fixed inscription but becomes instead a fluid, malleable, easily reproduced stream of electronic information (Balestri, 1988). The realm of print, where writing refers to a product fixed between covers and disseminated from producer to consumer, contrasts sharply with the electronic environment, where writing is understood as a process that necessarily invites change (Bolter, 1991). 8 Computers and Composition Vol. 9, No. 7 But this split between reading and writing need not prove debilitating. When applied imaginatively, the same technology that presently exacerbates division can.result in a new, interactive textuality. At Cornell University in English 165, a first-year writing course on the literature of fantasy, we enabled students to explore this mode of expression both as readers and writers of interactivefiction. Our experience is extremely limited, and we offer here only an anecdotal account, not a systematic investigation of this teaching strategy. But what we and our students discovered in working with interactive fiction suggests that this form of writing helps engage students in an encounter with literature, raising the possibility of a new community of critical and creativediscourse. Thiscommunity, whoseconventionsarenotyet formed, can only be defined by a confluence of literature, composition, and technology. 10 Computers and Composition Vol. 9, No. I

This paper applies an embodied perspective to the study of reading and has a twofold aim: (i) to discuss how reading is best understood in terms of cultural-cognitive performance that involves living bodies who actively engage with reading materials, and (ii) to spark a dialogue with neighboring disciplines, such as multimodality studies and movement studies, which likewise pivot on how practices and performances involve moving bodies: life is something we do. An embodied cognitive perspective considers how performance is constrained by and draws on expertise such as lived experience as well as the material affordances available in the situation. Such a perspective is crucial for reading research as this domain has been, and largely still is, dominated by the view that reading is a silent, disembodied activity that takes place in the reader's brain by means of neural mechanisms. However, recent studies of reading practices are starting to develop new explanations emphasizing the multimodal engagement in reading as crucial for managing the activity. While this perspective is still empirically underexplored, we seek to highlight how reading is managed by readers' dynamic, embodied engagement with the material. We call this engagement cognitive pacemaking, an action-perception phenomenon we argue should be considered as the key mechanism for controlling attention. We present here a framework to understand reading in terms of pacemaking by emphasizing attentional shifts constituted by embodied modulations of lived temporality. Methodologically, we combine a close reading of a classic literary text, with the focus on attentional modulation with a qualitative study of university students reading different short texts. We highlight how meaning emerges not primarily from linguistic decoding and comprehension, but also from cognitive-cultural, multimodal engagement with the text. Finally, we conclude that empirical reading research should focus on how embodied reading differs across contexts, genres, media and personalities to better scaffold and design reading settings in accordance with those aspects.

Resumo: Neste texto, percorrendo um itinerário reflexivo sinalizado pelas legendas que percorrem a obra de alguns destacados autores portugueses, analisa-se a forma diversificada como a leitura de um texto se desenvolve, dissolvendo a voz do autor/poeta no âmago do leitor. Desde a imagem estampada na capa, passando pelo título e pela(s) epígrafe(s), o texto se anuncia e se antecipa ao leitor, gerando uma expectativa que só se consumará através da sua leitura integral. A experiência estética do autor, que se faz representar/reconhecer através do diálogo intertextual, numa progressiva evidenciação da sua memória metamórfica, sobrepõe imagens que desencadeia um efeito de hesitação e suspensão no leitor. Dessa forma, o mundo ficcional, sinédoque e símbolo de um real envolvente, torna-se comum ao escritor e ao leitor, enredando-os num jogo de percepções e reconhecimentos, onde as suas memórias e os seus fantasmas, revelados através de uma objetiva panorâmica, afloram, o que pode tornar a ambos cúmplices ou promover o seu afastamento. Palavras-chave: Leitura. Memória. Expectativa. Literatura Muito frequentemente, a leitura é condicionada de um modo que impõe o reconhecimento da dimensão artística da obra, limitando o espaço da sua recepção. Diversos processos servem essa estratégia e esse objetivo. Um deles é a evocação intertextual. Seletiva, reflexiva, responsável pela (dis)semelhança inerente à vida e morte da imagem estética, às metamorfoses que Dalí consagra em Persistência da Memória (1931), com imagens em liquefação e escorrência mnésica. Ela clama por reconhecimento e, portanto, pelo leitor capaz de o fazer. Mas também cria e mantém um segundo plano onde o evocado vibra, repercutindo-se na superfície do primeiro. Pode sugerir uma "linhagem" estética, mesmo inesperada. Ou apenas evidenciar a semelhança ou a diferença, ou, mesmo, o diálogo entre textos. Ou compendiar sinais para a leitura do texto onde ocorre. Quando a letra evoca um texto das artes plásticas, a imagem

Presently, designers of interactive narratives and video games have only a slender understanding of the aesthetic experiences their audiences and users seek. Using schema theory, this study articulates the two varieties of aesthetic pleasures that users of interactive works enjoy: immersion and engagement. It uses schema theory to define the characteristics of immersion and engagement in both conventional and new media. After examining how readers' experiences of these two different aesthetics may be enhanced or diminished by interface design, options for navigation, and other features, the essay concludes by looking beyond immersion and engagement to 'flow', a state in which readers are both immersed and engaged.