Teaching “Entre Ville” by J. R. Carpenter

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Read I ♥ E-Poetry entry on “Entre Ville”

This lesson plan– the first in the E-Lit for ESL series– takes advantage of J.R. Carpenter’s polyphonic approach to the city to introduce the characteristics of e-literature, to provide some reading strategies and to encourage the use of digital tools in writing. The text “Saint Urban Street Heat” and its multiple vignettes that can be explored become a resource for reviewing the use of adjectives and presenting hyphenated adjectives to students.

This resource has been designed for teenagers and adults with at least an intermediate proficiency level. Its activities include:

  • the use of pre-reading strategies,
  • the reading of “Saint Urban Street Heat” in print and then within “Entre Ville,”
  • the reflection of the author’s experiences in her work,
  • the introduction to hyphenated adjectives, and
  • the elaboration of a collage using PowerPoint and digital materials provided by the students.

Access the Teaching “Entre Ville” lesson plan.

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Posted in Adult, E-Lit for ESL, E-Pedagogy, Language Skill, Reading Skill, Resources, Series, Teaching, Teen, Writing Skill

New Series: E-Lit for ESL

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The purpose of the E-Lit for ESL series– a branch of the E-Lit Pedagogy CFP– is to offer teaching resources for ESL based on the works featured in I ♥ E-Poetry. These materials will consist on highly adaptable lesson plans which seek to:

  • develop proficiency in any of the four basic language skills (reading, writing, listening and speaking),
  • introduce grammar structures and vocabulary, and
  • integrate digital literacy in high school and college ESL classrooms.

These lesson plans are designed to be modular, describing activities without predetermined time periods, in order to make them adaptable to multiple environments– age groups, proficiency levels, course objectives, and educational contexts. Teachers will be able to select the activities they want to implement and decide whether a task can be performed during a class session or as an assignment.

We welcome feedback and suggestions on how to improve these lesson plans. Please use the Contact form to do so.

Posted in E-Lit for ESL, E-lit Pedagogy, News, Resources, Teaching

CFP: E-Lit Pedagogy

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I ♥ E-Poetry is largely an educational project, developing into a reference of electronic literature that aims for encyclopedic scope of its coverage. It is designed for newcomers to these genres, scholars who need a quick reference, and educators interested in teaching e-lit in their courses.

Members of the digital humanities and electronic literature communities are already making strides in this direction, with digital pedagogy (read this also), critical making, and exploratory programming, to name a few. It’s time to take some of  e-lit’s pedagogical potential out for a spin and see what we can do with it.

To encourage the teaching of e-lit, this project has created resources, indexes, and now seeks to expand to materials used to teach it, such as lesson plans, modules, assignments, and so on, in the following areas:

  • Teaching e-lit as a subject matter, in literary, cultural, and other humanistic contexts.
  • Teaching e-lit works to develop general education skills (such as critical thinking, writing, reading, and speaking).
  • Teaching e-lit for ESL (English as a Second Language)
  • Teaching e-lit to enhance learning in STEM fields.

Any of these areas can be defined further by target population, age group, and so on.

If you’re interested in exploring this potential, whether it’s with an individual submission or by becoming a regular or guest contributor, please contact me to start the conversation.

Posted in CFP, E-lit Pedagogy

New Contributor: Lauren Pérez Mangonez

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I ♥ E-Poetry welcomes its new contributor: Lauren Pérez Mangonez.

Lauren Pérez is a certified teacher of English and Spanish, graduated from the Universidad Pedagógica Nacional de Colombia. She is a Research Assistant at the University of Puerto Rico (Mayagüez Campus), where she is currently pursuing a Master of Arts in English Education; her thesis is about the use of E-literature in the ESL classroom. She loves horror, sci-fi and fantasy literature, and of course, E-Poetry.

Lauren’s passion for e-lit pedagogy will enrich this resource with lesson plans designed to address ESL (English as a Second Language) and general education needs.

Posted in News

Willy Shakes (@IAM_SHAKESPEARE) by Joshua Strebel

"Willy Shakes" by Joshua Strebel

“Willy Shakes” by Joshua Strebel

William Shakespeare returns to Twitter!

This bot (previously reviewed in I ♥ E-Poetry) takes a simple concept and executes it flawlessly: it tweets a line from The Complete Works of William Shakespeare (freely available in Project Gutenberg) every 10 minutes and will do so until it reaches the end in about 2 years. “Willy Shakes” has now begun the third round of tweeting, having recently completed Round 2 on December 24, 2013 (see embedded tweets below) and taking a brief hiatus. Read more ›

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Posted in 2009, Born-Again Digital, bot, Entries, poetry, scheduled, static, Twitter

2013 Digital Humanities Awards Results

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For the second year in a row, I ♥ E-Poetry is the first runner up in the Digital Humanities Awards, this time in the “Best DH project for public audiences” category. Here’s a link to the official results.

This accomplishment couldn’t have been possible without its fabulous team: the Advisory Board which suggested changes that led to our current expansion into a collaborative effort, the contributors who freely lend their expertise and insight to the project, and the interns whose behind-the-scenes work help develop this resource. Here’s the I ♥ E-Poetry team: Read more ›

Posted in News

“Storyland” by Nanette Wylde

Nanette Wylde’s Storyland (2002) is a digital work that produces recombinant narratives within a frame that seeks to evoke the ethos of a circus performance. Each story within Storyland opens with a black screen, the title of the work lighting up in a randomized configuration of multi-coloured letters to a shortened subsection of of Louis-Philippe Laurendeau’s ‘Thunder and Blazes’ (1910), a small-band reworking of Julius Fučík’s Opus 68 march, ‘The Entrance of the Gladiators’ (1897). The stories within Storyland follow a basic six paragraph template, and are refreshed each time the user presses the ‘new story’ button. Each time this button is pushed, the page refreshes by playing its music again and produces elements in a new combination in order to tell the user a different narrative, seemingly depicting a whole new performance, although elements of the previous tale are displaced and repeated within each new tale.

Read more ›

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Posted in 2002, Adult, aural, CFP, Electronic Literature Collection, Vol. 1, fiction, mutable, narrative, performance, static

[Untitled] by Jeremy Hight (Part 1 of ?)

Hight's announcement

Hight’s announcement

On Sunday, February 16, 2014 at 6:45 pm Jeremy Hight announced that he had begun a new series that would be “published” on his timeline and allowed to “float away down its river.” To think of the Facebook timeline as a river is a substantial change in the metaphor Facebook has implemented as an organizing principle for the mass of status updates, photos, and other material people share on this social network. A timeline can be explored with considerably less metaphorical effort than navigating upstream. There are no ancient philosophical pronouncements about never being able to step into the same timeline twice. To think of Facebook as a river is to highlight its endless flow and the irretrievable nature of a moment– correctly so– but that isn’t the only metaphor Hight is activating here. He refers to these posts as “publication,” a word that comes charged with centuries of print history and the circulation of the written word in ways that suggests a modicum of permanence, the slice of immortality beyond the ephemeral moment that Shakespeare wrote about.

The problem is that Facebook posts aren’t ephemeral. They are digital objects stored and backed up in Facebook servers with timestamps and a unique URL, which like Twitter posts, can be embedded into WordPress blogs (as of September 2013). So there is a way to circumvent Hight’s intention of having this narrative exist only on Facebook, and here it is, embedded into this post:

Hmm. Well played, Mr. Hight, well played.

Okay then, let this be a reminder that just because while the entry is published, it isn’t public. Upon closer inspection, I (who have the privilege to be his Facebook friend), noticed that the entries for this narrative are shared only with his friends, so even if you “follow” his entries, he needs to become “friends” with you to grant access to this narrative. Perhaps this is an oversight, since he does post public entries in his timeline (I tested this by following him with a different account). Or perhaps, like Emily Dickinson, who shared her poems with her friends and acquaintances by copying them by hand and mailing them in letters, Hight wishes to share this work with a select audience of people he knows and trusts enough to establish bilateral communication with in Facebook.

The preservationist in me wants to capture these entries and it would be easy to do so, by screen capturing the posts or by cutting and pasting their text into a new document, but as discussed in my series on William Gibson’s vanishing poem Agrippa,  I would only be capturing an aspect of the work by creating different computational objects. Besides, it begs the question: do I have the right to copy his work? Would this act be a violence against Hight’s intentions? I don’t wish to betray our friendship. I could provide links to the entries so fellow Facebook friends can access them, but it would be better to direct people to February 16, 2014 on his Timeline, which would provide a fuller context. Perhaps when it’s over, I’ll ask Hight to download his Facebook Archive and share the data with me, or archive it somehow.

Or perhaps I should enjoy it as it happens, share the experience with fellow friends, and appreciate it more for its “lability.”

You’ll note that I haven’t mentioned what the story is about. That will be the focus of the next entry in this series.

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Posted in 2014, Entries, facebook, mutable, narrative, responsive, Reviews, serial, Social Media, static

I Love Love E-Poetry

I love love epoetryI ♥ E-Poetry is about love – for poetry in electronic and digital media, for poetry on and off the page, for poetry wherever it can be found, and more generally for what happens to language and literary expression in digital media. E-Poetry (using this most encompassing of definitions) is about many things, including love in all its expressions: familiar, romantic, of language, of media, of the self and the other, of the others, of all.

So to commemorate Valentine’s day I have compiled a brief selection of love e-poems reviewed in I ♥ E-Poetry:

There’s more to be found, but this is a fun start. If you’re left wanting more, search this blog for words like “love” and “sex” and you’ll be on the right track.

Share and enjoy!

Posted in Adult, Resources

iPoe: Effecting the Text

The Play Creatividad Editions are more than illustrated editions of Edgar Allan Poe’s texts. The reader can interact with the illustrations to discover what lies beneath (and, Poe being Poe, what lies beneath is generally a nasty surprise). The tales have been supplied with sound and music. But not with the kind of music that one would expect of a repetitive video game: each text has its own piece with a mood and rhythm that complements it perfectly. It is a labor that requires ideas, but also talent and love.

If we take “The Oval Portrait,” for example, the music is sweet and haunting, ultimately sad. The opening of the story, which describes the “chateau” in which the narrator will discover the oval portrait, is set over a grey scene on the background of which is the mansion, illuminated by the moon and surrounded by grey pine trees. In many of the illustrations, the movement of the device causes them to shift their angle. When we least expect it, the howl of the wolf merges with the melody.

The opening of "The Oval Portrait" in iPoe

The opening of “The Oval Portrait” in iPoe

As we advance in the tale, we discover that some of the phrases of the story are emphasized by using a darker and larger font. Eventually, the candlelight, allows us to illuminate the oval portrait, just after the narrator has discovered it.

The degree to which “The Oval Portrait” achieves the merging of the interactive features and multimedia elements with the original text  goes beyond what the reader would expect. In a print edition, for example, we read:

And then the brush was given, and then the tint was placed; and, for one moment, the painter stood entranced before the work which he had wrought; but in the next, while he yet gazed, he grew tremulous and very pallid, and aghast, and crying with a loud voice: ‘This is indeed Life itself!’ turned suddenly to regard his beloved:- She was dead!

This could be modified with clever design, but in iPoe, we have a story presented with skilled subtlety.  In one screen we have:

And then the brush was given, and then the tint was placed; and, for one moment, the painter stood entranced before the work which he had wrought; but in the next, while he yet gazed, he grew tremulous and very pallid, and aghast, and crying with a loud voice:

"The Oval Portrait" in iPad

“The Oval Portrait” in iPad

The typography of the last phrases bold and increasing in size (in the iPhone version, the iPad has the same size through that paragraph, as it can be seen in the image above) perhaps referring to the state of excitement exhibited by the character.  In the next page we have the portrait, covering blurry letters.

The portrait in "The Oval Portrait," photographed in an iPad.

The portrait in “The Oval Portrait,” photographed in an iPad.

The reader is forced to move the portrait out of place to discover the dead woman and the text above the corpse: “‘This is indeed Life itself!’ turned suddenly to regard his beloved:- She was dead!”

The end of "The Oval Portrait" in iPoe, photographed in an iPad.

The end of “The Oval Portrait” in iPoe, photographed in an iPad.

The wonder is of iPoe’s “The Oval Portrait” is that it can enhance the reader’s experience. This is not just Poe’s text in a new edition, it is Poe for the 21st century reader. I, for one, will never teach Poe from print again.

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Posted in 2012, adaptation, Adult, aural, Born-Again Digital, Entries, fiction, kinetic, responsive, static, Teaching, Teen

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