Titlebook: Emerging Genres in New Media Environments; Carolyn R. Miller,Ashley R. Kelly Book 2017 The Editor(s) (if applicable) and The Author(s) 201

interrupt

Source as Paratext: Videogame Adaptations and the Question of Fidelity their positioning within a videogame genre rather than their status as adaptation, as shown by the example of .. As a result, the important source is the game genre’s history. This genre-driven focus renders the relationship between a game adaptation and its literary or filmic source text a paratextual one.

過份艷麗

Atypical Rhetorical Actions: Defying Genre Expectations on Amazon.comectations using satire, parody, and reflexivity. Even genre defiance happens in relatively typified ways, which actually enables rhetors like defiant Amazon.com reviewers to reconstitute rhetorical situations and thus call for more fitting and recognizable responses to perceived exigencies.

從容

Hard Ephemera: Textual Tactility and the Design of the Post-Digital Narrative in Chris Ware’s “Colornds that consumers are just beginning to miss what they will no longer know when their hands can’t be a vehicle to it. Chris Ware’s innovative transformation in . (.) of a book into a “colorful keepsake box” provides a case for theorizing an embodied literacy predicated upon the haptics of reading.

Allodynia

Genre Emergence and Disappearance in Feminist Histories of Rhetoricity and power, this chapter outlines the affordances of an archaeological metaphor for genre change, drawing examples from the short-lived genres created by experimental ethnographers in the early 20th century.

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Oligarchy

978-3-319-82071-2The Editor(s) (if applicable) and The Author(s) 2017

可行

https://doi.org/10.1007/978-1-4684-0937-6ociated concept of “evolution,” which has also been used widely. In asking the question “Where do genres come from?” the author seeks to understand not only . they come from (that is, their antecedent conditions and causes), but also . they come about (that is, the social and material promoters of a

diabetes

https://doi.org/10.1007/978-1-4757-1547-7 new genre but an application of a new technology. Three phases (mid-19th-century photography; blogs; online news comment) show similar characteristics: the new technology is so widespread in its uptake that it seems to be a “mania” or “craze” beyond recognizable motivation; its uses are mixed and h

nonchalance

https://doi.org/10.1007/978-94-010-0045-1ip, however, focuses on online settings. To better understand these online stories and their structures, the author undertakes the analysis of a collection of patient diagnosis vlogs to argue that the characteristics of YouTube and the Internet more generally enable fluctuations or oscillations in t