Diagrams Series 3 is the first published work in a life-long series of diagram poems, originally published ©1979 by Jim Rosenberg as an ad-hoc circulation in which each diagram was printed on two consecutive sheets of standard blank 14 7/8 x 11 computer paper. Some of these poems appeared inInterstate 14.
Following the concept of "remediation" and the premise that "all of our examples of hypermediacy are characterized by this kind of borrowing, as is also ancient and modern ekphrasis" (Bolter and Grusin, 1999: 44-45), I would like to take under consideration a literary work of Portuguese poet Vasco Graça MouraGiraldomachias / Em demanda de Moura (co-author Gérard Castello-Lopes; 2000). The main idea is that this particular tipographic object not only illustrates the vitality and liveliness of modern ekphrasis (in this case setting up the relation between poetry and photography, these late made by the photographer which is the coauthor of the book) but for the most part underpins the concept of hypertext. My understanding of this notion is (an almost) direct result of my study, investigation and analysis of Theodor Nelson's works and thinking, especially Literary Machines (1981), to a great extent for the present book: in my perspective, this book is a hypertextual literary machine, considering that "By hypertext I simply mean non-sequential writing. A magazine layout, with sequential text and inset illustrations and boxes, is thus hypertext" (LM, 1993: 1/17).
This paper presents a multimedia/hypertext/PowerPoint presentation that focuses on the graphic novel V for Vendetta by Alan Moore and David Lloyd and the 2006 adapted film version of V for Vendetta, directed by Andy and Larry Wachowski. This presentation addresses the history of graphic novels and looks at recent trends in the medium, compares two scenes from the graphic novel with the film, and weaves in theoretical concepts such as the relationships between text and image, the use of simulation and semiotic analysis. Other issues discussed include the use of theatrics, masks and constructed identity in both texts. Finally, the presentation concludes with a look at the future of graphic novels and a call to further academic studies of this emerging textual medium and its growing life in virtual online forms.
(Source: Author's abstract, 2008 ELO Conference site)