https://www.um.edu.mt/library/oar/handle/123456789/11180 2026-04-04T21:19:46Z 2026-04-04T21:19:46Z https://www.um.edu.mt/library/oar/handle/123456789/12523 2018-03-01T14:42:25Z 2014-06-01T00:00:00Z

Title: About our contributors Abstract: Short biographies of the contributors.

2014-06-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/12522 2018-03-20T12:25:36Z 2014-12-01T00:00:00Z

Title: About our contributors Abstract: Short biographies of contributors.

2014-12-01T00:00:00Z Fenech, Giuliana https://www.um.edu.mt/library/oar/handle/123456789/12521 2018-03-20T12:26:38Z 2014-12-01T00:00:00Z

Title: From audiences to publics : convergence culture and the Harry Potter phenomenon Authors: Fenech, Giuliana Abstract: In the mid-nineties, changing business and communication models influenced the way in which cultural industries operated. The spheres of public and private, production and distribution, ownership and access had to be reconsidered and were characterised by convergence culture, a commercial and creative environment based on active participation that offers support for creating and sharing interpretations and original works. Convergence culture has relatively low barriers to artistic expression and civic participation and fosters a sense of community growing around people’s common interests and ideologies. It is also a product of the relationship between communication technologies, the cultural communities that grow around them, and the activities they support.

2014-12-01T00:00:00Z Chetcuti, Clara https://www.um.edu.mt/library/oar/handle/123456789/12520 2018-03-20T12:27:28Z 2014-12-01T00:00:00Z

Title: Enc0d1ng poetry Authors: Chetcuti, Clara Abstract: So-called “poetry in code” mounts a doubled claim to electronic-ness and literariness, and can be dubbed “literary” precisely due to its coded nature. It would seem, then, that code requires at least as much critical consideration as the linguistic and rhetorical devices normally employed in print literature. Insofar as a legitimate codework employs code at the scripting level as a language-generator and –animator, and at the surface level as either executable or non-executable programming, to what extent can E. E. Cummings’s I Will Be (1925) be considered a poem in code? What can be inferred from a comparison between this would-be proto-codework and a canonical digital poem such as Brian Kim Stefans’s The Dreamlife of Letters (2000)? What is it that makes Cummings’ poem a potentially more remarkable codework than Stefans’s? Is it the precociousness of his coded address, or is it the fact that he anticipates the links which N. Katherine Hayles makes between code and liminal somatic states in her essay 'Traumas of Code' (2006)?

2014-12-01T00:00:00Z