Abstract

This article focuses on the study of digital literary works, whose existence no longer needs to be demonstrated. If these works have often been examined by their poetic characteristics (multimodal dimension, interactivity, etc.), the understanding of their immediate anchorage in their context (technological and sociodiscursive) remains to be perfected. It is a study of the materiality of the digital works that this article proposes, allowing to seize them in their processual nature under two angles: the upstream and the downstream of the work. The attention paid to the genetics of digital literary works leads to attesting to the difficulties posed by writing in a digital context, which is hidden behind often opaque systems. The study of the performativity of works, on the other hand, allows us to situate them in their environment and to better observe their dependence on the contexts in which they are read. The understanding of digital literary practices is thus enhanced, as the works are perceived differently than by their immanent characteristics.

摘要

本文主要研究数字文学作品，其存在不再需要被证明。如果经常通过它们的诗意特征（多模态维度、交互性等）来审视这些作品，那么对其在其语境（技术和社会话语）中的直接锚定的理解仍有待完善。本文提出的是对数字作品的物质性的研究，允许从两个角度抓住它们的过程性质：作品的上游和下游。对数字文学作品遗传学的关注证明了在数字环境下写作所带来的困难，而这些困难往往隐藏在不透明的系统背后。另一方面，对作品表演性的研究，使我们能够将它们置于其环境中，并更好地观察它们对阅读上下文的依赖。对数字文学实践的理解因此得到增强，因为作品的感知方式与其内在特征不同。