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By Liz Hamp-Lyons

This quantity offers with the topic of portfolio-based writing review. It explores the idea at the back of utilizing portfolios in writing a programme in addition to information regarding what portfolios are, what merits they carry for evaluate reasons, and what results they could have on a writing programme.

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Manovich’s definition is flexible and powerful, and it very helpfully captures the difference between a digitally produced new media image and a superficially similar traditional photograph. I want to emphasize, however, that this variability extends to the interface through which we encounter these objects. In particular, my approach here leads to a way to read the rhetorical work that goes into defining the relationship between media in a particular text. In a way, my focus on the rhetorical construction of media relations in these works simply emphasizes something that has already been implied by Bolter and Grusin’s influential book Remediation.

The recent Madden football games, for example, import not only music but player voices, statistics, and even scanned faces to provide on-the-field avatars; the balance between play and referential media will clearly be much more complex in this case. Nonetheless, I hope to have shown that the multimedia sources of these references form an important part of the construction of narrative in these texts. Eskelinen has rightly suggested that instead of distinguishing actions and happenings—as traditional narratology does—“games can be differentiated from each other on the basis of which events can or cannot be manipulated” (2004, 40).

Hypertext aesthetics favor the serendipitous emergence of meaning over a goal-oriented, deliberate retrieval of information. But is it possible to respect narrative logic under these conditions? Early theorists like George Landow (1997) and Michael Joyce thought so. They claimed that hypertext is a storytelling machine that generates a different narrative with every run of the program. As Joyce put it, “every reading . . becomes a new text. . Hypertext narratives become virtual storytellers” (1995, 193).

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