As rhetoric or practical criticism: “the examination of diction and syntax, rhythm and repetition, and the various figures of speech”

As philosophy or the “potential expression of truth and knowledge”

As “cultural production”—“for its political role, its exposure of the state of a given society”

“to explore both the nature of Stein’s art and certain wider questions about linguistic and literary meaning” (170);

Organizations ask for loyalty, but they reciprocate that loyalty with shams, counterfeit incentives that neither provide value nor require investment.

Games or points isn't the point -- for gamifiers, there's no difference. It's the -ification that's most important. Zicherman makes the point for me: "What gamification does is allow marketers to focus on what they know best -- convincing consumers to take loyalty and purchasing actions -- using a powerful toolkit of engagement gleaned from games."

When people complain that "serious games" is an oxymoron miss the point: it's supposed to be an oxymoron. When people hear "serious games," this contradiction is foregrounded and silently resolved.

Most recently, Serious Games have offered another, more general attempt to expand games' scope

IVANHOE is not like a "creative writing workshop,"

Pride and Prejudice

In recent years the scene of humanities instruction grows less like the classroom of the 1930s, when the remarkably successful teaching protocols of the New Criticism were invented.

Victorians rewrote and reimagined the book. Why are we so hesitant about doing the same thing?

Book history attends to the reception and the uses of the artifact: what is done to books as well as what has been done with books.

But Harry Potter is a tale of marginalia

What thus distinguishes tutored from untutored writing—and what distinguishes the adult from the child—is the ability to reproduce one’s own hand without variation over time.

That children wrote in books and that their annotations may survive attest, for some, to an eternal common-place: this is something children did and do, whatever time or social world they live in.

 The  Text  is  not  to  be  thought  of  as  an  object  that  can  be  computed.  It  would  be  futile  to  try  to  separate  out  materially  works  from  texts.  In  particular,  the  tendency  must  be  avoided  to  say  that  the  work  is  classic,  the  text  avant-­‐garde;  it  is  not  a  question  of  drawing  up  a  crude  honours  list  in  the  name  of  modernity  and  declaring  certain  literary  productions  'in'  and  others  'out'  by  virtue  of  their  chronological  situation:  there  may  be  'text'  in  a  very  ancient  work,  while  many  products  of  contemporary  literature  are  in  no  way  texts.  The  difference  is  this:  the  work  is  a  fragment  of  substance,  occupying  a  part  of  the  space  of  books  (in  a  library  for  example),  the  Text  is  a  methodological  f

We  know  that  today  post-­‐serial  music  has  radicallyaltered  the  role  of  the  'interpreter',  who  is  called  on  to  be  in  some  sort  the  co-­‐author  of  the  score,  completing  it  rather  than  giving  it  'expres

 The  work  is  normally  the  object  of  a  consumption;  no  demagogy  is  intended  here  in  referring  to  the  so-­‐called  consumer  culture  but  it  has  to  be  recognized  that  today  it  is  the  'quality'  of  the  work  (which  supposes  finally  an  appreciation  of  'taste')  and  not  the  operation  of"  reading  itself  which  can  differentiate  between  books:  structurally,  there  is  no  difference  between  'cultured  reading  and  casual  reading  in  trains.

2.  In  the  same  way,  the  Text  does  not  stop  at  (good)  Literature;  it  cannot  be  contained  in  a  hierarchy,  even  in  a  simple  division  of  genres.  What  constitutes  the  Text  is,  on  the  contrary  (or  precisely),  its  subversive  force  in  respect  of  the  old  classifications.  How  do  you  classify  a  writer  like  Georges  Bataille?  Novelist,  poet,  essayist,  economist,  philosopher,  mystic?  The  answer  is  so  difficult  that  the  literary  manuals  generally  prefer  to  forget  about  Bataille  who,  in  fact,  wrote  texts,  perhaps  continuously  one  single  text.  If  the  Text  poses  problems  of  classification  (which  is  furthermore  one  of  its  'social  functions),  this  is  because  it  always  involves  a  certain  experience  of  limits  (to  take  up  an  expression  from  Philippe  Sollers).Thibaudet  used  already  to  talk  -­‐-­‐but  in  a  very  restricted  sense  -­‐-­‐of  limit-­‐works  (such  as  Chateaubriand's  Vie  de  Rancé,  which  does  indeed  come  through  to  us  today  as  a  'text');  the  Text  is  that  which  goes  to  the  limit  of  the  rules  of  enunciation  (rationality,  readability,  etc.).  Nor  is  this  a  rhetorical  idea,  resorted  to  for  some  'heroic'  effect:  the  Text  tries  to  place  itself  very  exactly  behind  the  limit  of  the  doxa  (is  not  general  opinion  -­‐-­‐constitutive  of  our  democratic  societies  and  powerfully  aided  by  mass  communications  -­‐-­‐defined  by  its  limits,  the  energy  with  which  it  excludes,  its  censorship?).  Taking  the  word  literally,  it  may  be  said  that  the  Text  is  always  paradoxical.

so  the  combined  action  of  Marxism,  Freudianism  and  structuralism  demands,  in  literature,  the  relativization  of  the  relations  of  writer,  reader  and  observer

Atufal

St. Francis

Upon a still nigher approach, this appearance was modified, and the true character of the vessel was plain—a Spanish merchantman of the first class, carrying negro slaves, amongst other valuable freight, from one colonial port to another.

smelter's

Hecate

Lazarus in Abraham's bosom

That was in the lion month of March

Quito

"With fairest flowers, Whilst summer lasts, and I live here, Fidele—"

Aurora Borealis

Whoever built the house, he builded better than he knew; or else Orion in the zenith flashed down his Damocles' sword to him some starry night, and said, "Build there." For how, otherwise, could it have entered the builder's mind, that, upon the clearing being made, such a purple prospect would be his?—nothing less than Greylock, with all his hills about him, like Charlemagne among his peers.

WORKS CITED

These platforms also provide an opportunity to highlight what democratic deliberation shares with academic discourse: the general form of conversation.

The participatory ethos of social annotation aligns it with the promise of radical democracy: free expression, common ownership, mutual commitment; liberty, equality, fraternity. The promise stands in marked opposition to those aspects of higher education pedagogy and scholarship that remain, even in democratic societies, hierarchical, exclusive, proprietary, and competitive.

Annotation is of course far older than the web. For as long as there has been writing, there have been readers who follow along and “write back.”

The fact that more or less anyone can publish to the web often makes people think that self-publication is its main use.

What’s powerful about Hypothes.is is that in principle it allows *anything* online to be annotated, without special tools beyond a browser plug-in.

Lurking behind their imaginative essays is an ideal of full comprehension–that we might be able to truly understand one another if we could just track down all the relevant influences and contexts and motives. We can also see how such a vision becomes oddly depersonalizing.

When I was a graduate student, one of my favorite moments was visiting the collections at UC Santa Cruz, and looking at Thomas Carlyle’s alternatively-metered edition of Robert Browning’s poems. What has become distinctive now is the extreme rapidity of searching one’s own marginalia, as well the ability to see how others read.

Bequests of personal notes were explicitly includedin wills and even fought over in cases of disputed legacy.

Therefore anothermethod of analysis (and the principal one for earlier periods) is to hypoth-esize from finished texts about the methods of note taking from which theywere composed.

but also by our current experience with new tech-nologies and our sense (often more diffuse than articulate) that the com-puter is changing both the way we take notes and the kinds of notes andwriting we produce.7

That's the worst accusation: that I am not a serious reader. Not guilty! I love books as much as anybody. But I love reading more. It is the sustained and individual encounter with ideas and stories that is so bewitching. If new formats allow us to have more of those, let us welcome and learn from them.

The iPhone is a Kindle killer.

Do I love books or do I love reading?