Danielewski and Jennifer Egan - this paper looks at the codex form as one medium among others, and as a diagrammatic, phenomenal and performative space (see Drucker 2007) rather than a representative/figurative space, and as an ur-coding practice now existing among newer ones.
Have the Internet, the new media and digital devices altered the way authors conceive, design and weave together their narratives in books? How is the interaction or mutual relation between various old and new media (art, cartoons, cinema, and TV included) achieved within the codex book? Do authors expunge or expose the phenomenon of media merging and interaction? By analysing works by five writers - British, Canadian and American - Matt Beaumont and Jeanette Winterson, Douglas Coupland, Mark Z. The focus of this paper is on the novel in book form and on the influence and impact of the new media and their technologies, both as hardware and software, including the Internet and varied web content - web pages, online magazines, blogs, chat rooms, forums, social networks and media - as well as mobile devices such as smartphones and tablets and therefore text messaging (SMS) and instant messenger services. Résumé Sous l'influence des séries télévisées, du roman graphique et des jeux vidéo, nous assistons aujourd'hui à As more novels are becoming serialized, we are beginning to see how seriality in the digital age holds a promise of transforming the modes of reading that pertain to the literary novel.
At the same time, I state, this series emphasizes novelistic affordances like mediacy, materiality, opacity, and time-boundedness, reminding the reader of the pleasures of delay and 'slow reading' in times of 'real-time' media and binge-watching. These formal qualities in turn encourage particular modes and strategies of reading and interpretative tactics, as well as collaborative readings marked by shared waiting, collective intelligence, and crowdsourcing of contents. Further, Danielewski's employs the 'signiconic' as an innovative way to familiarize and thus hook his readers to his story world. I argue that The Familiar is narratively complex in its hybridization of the conventions of episodic and serial storytelling. Danielewski's 27-part novel series The Familiar, which the author has announced as a remediation of narratively complex television series like The Wire and Breaking Bad. This article focuses on transformations of readership in the first three volumes of Mark Z.
Under the influence of television serials, the graphic novel and computer games, we are currently witnessing a revival of the serialized novel.
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