INTERACTIVITY IN DIGITAL POETRY: WORD, IMAGE AND SOUND IN MOVEMENT
Discourse genres accompany the diverse uses of language in social spheres, as part of a natural process. In dealing with the virtual environment, the emergence of new genres can be increasingly perceived. It is in this context that digital poetry emerges, being a discourse genre that has, relatively...
| Main Authors: | , |
|---|---|
| Format: | Article |
| Language: | English |
| Published: |
Universidade Federal de Minas Gerais
2016-12-01
|
| Series: | Texto Livre: Linguagem e Tecnologia |
| Subjects: | |
| Online Access: | http://www.periodicos.letras.ufmg.br/index.php/textolivre/article/view/10998/9808 |
| _version_ | 1818385642705387520 |
|---|---|
| author | Simone Dália de Gusmão Aranha Olivia Rodrigues Borborema |
| author_facet | Simone Dália de Gusmão Aranha Olivia Rodrigues Borborema |
| author_sort | Simone Dália de Gusmão Aranha |
| collection | DOAJ |
| description | Discourse genres accompany the diverse uses of language in social spheres, as part of a natural process. In dealing with the virtual environment, the emergence of new genres can be increasingly perceived. It is in this context that digital poetry emerges, being a discourse genre that has, relatively speaking, not been much explored. It is however, quite rich in composition and in the construction of meaning. Called, usually, cyber poetry, animated poetry or clip poem, this type of poetry has acquired a different kind of dynamics in the virtual environment, through the simultaneous configuration of the use of words, sound and images. This permits the hyper-reader to participate both passively and actively, in other words, to have a lower or higher degree of interaction with the text. Considering these aspects, the objective of this study is the analysis of interactivity in digital poems. Four poems were chosen for analysis with this end in view. The contributions of Bakhtin (2003), Marcuschi (2003, 2004, 2007), Souza (2007), Antonio (2008), Maués (2010), Primo (2000, 2005), Silva (2001) and other scholars have served as the theoretical and methodological framework of this work. After analysis, we contacted three different degrees of interactivity: a low grade, a medium grade and a high degree, which allowed different possibilities of participation to the hyper-reader and defined, respectively, the interactivity of passive, active or collaborative way in the virtual environment. |
| first_indexed | 2024-12-14T03:41:24Z |
| format | Article |
| id | doaj.art-b4326ef6e9ff4d2d808505233f0c41f6 |
| institution | Directory Open Access Journal |
| issn | 1983-3652 |
| language | English |
| last_indexed | 2024-12-14T03:41:24Z |
| publishDate | 2016-12-01 |
| publisher | Universidade Federal de Minas Gerais |
| record_format | Article |
| series | Texto Livre: Linguagem e Tecnologia |
| spelling | doaj.art-b4326ef6e9ff4d2d808505233f0c41f62022-12-21T23:18:28ZengUniversidade Federal de Minas GeraisTexto Livre: Linguagem e Tecnologia1983-36522016-12-0192466310.17851/1983-3652.9.2.46-63INTERACTIVITY IN DIGITAL POETRY: WORD, IMAGE AND SOUND IN MOVEMENTSimone Dália de Gusmão Aranha0Olivia Rodrigues Borborema1Universidade Estadual da ParaíbaUniversidade Estadual da ParaíbaDiscourse genres accompany the diverse uses of language in social spheres, as part of a natural process. In dealing with the virtual environment, the emergence of new genres can be increasingly perceived. It is in this context that digital poetry emerges, being a discourse genre that has, relatively speaking, not been much explored. It is however, quite rich in composition and in the construction of meaning. Called, usually, cyber poetry, animated poetry or clip poem, this type of poetry has acquired a different kind of dynamics in the virtual environment, through the simultaneous configuration of the use of words, sound and images. This permits the hyper-reader to participate both passively and actively, in other words, to have a lower or higher degree of interaction with the text. Considering these aspects, the objective of this study is the analysis of interactivity in digital poems. Four poems were chosen for analysis with this end in view. The contributions of Bakhtin (2003), Marcuschi (2003, 2004, 2007), Souza (2007), Antonio (2008), Maués (2010), Primo (2000, 2005), Silva (2001) and other scholars have served as the theoretical and methodological framework of this work. After analysis, we contacted three different degrees of interactivity: a low grade, a medium grade and a high degree, which allowed different possibilities of participation to the hyper-reader and defined, respectively, the interactivity of passive, active or collaborative way in the virtual environment.http://www.periodicos.letras.ufmg.br/index.php/textolivre/article/view/10998/9808discourse genresdigital poetryinteractivity |
| spellingShingle | Simone Dália de Gusmão Aranha Olivia Rodrigues Borborema INTERACTIVITY IN DIGITAL POETRY: WORD, IMAGE AND SOUND IN MOVEMENT Texto Livre: Linguagem e Tecnologia discourse genres digital poetry interactivity |
| title | INTERACTIVITY IN DIGITAL POETRY: WORD, IMAGE AND SOUND IN MOVEMENT |
| title_full | INTERACTIVITY IN DIGITAL POETRY: WORD, IMAGE AND SOUND IN MOVEMENT |
| title_fullStr | INTERACTIVITY IN DIGITAL POETRY: WORD, IMAGE AND SOUND IN MOVEMENT |
| title_full_unstemmed | INTERACTIVITY IN DIGITAL POETRY: WORD, IMAGE AND SOUND IN MOVEMENT |
| title_short | INTERACTIVITY IN DIGITAL POETRY: WORD, IMAGE AND SOUND IN MOVEMENT |
| title_sort | interactivity in digital poetry word image and sound in movement |
| topic | discourse genres digital poetry interactivity |
| url | http://www.periodicos.letras.ufmg.br/index.php/textolivre/article/view/10998/9808 |
| work_keys_str_mv | AT simonedaliadegusmaoaranha interactivityindigitalpoetrywordimageandsoundinmovement AT oliviarodriguesborborema interactivityindigitalpoetrywordimageandsoundinmovement |