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首页> 外文期刊>Neophilologus >Authenticity, Authoriality, and the Nature of Electronic Texts: Don Quijote in the Age of Digital Reproduction
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Authenticity, Authoriality, and the Nature of Electronic Texts: Don Quijote in the Age of Digital Reproduction

机译：电子文本的真实性，权威性和性质：数字复制时代的唐吉jo德

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In "The Work of Art in the Age of Mechanical Reproduction," Walter Benjamin provided thought-provoking insights into the way that lithography, photography, and cinema changed the nature of art and our perceptions of it. Among other considerations, he noted that the efficient mass reproduction of works of art affected notions of authenticity, the author, and the response of the viewer or reader. In many ways, the advent of the Internet causes us to review his arguments and expand on them in light of this new, digitized, decentralized, and diffuse method of reproducing works of art, including literature. Among the first online collections of great literature have appeared the collected works of Cervantes. In addition to the textual questions posed by the novel itself, such as who is the author, or perhaps more precisely, where or what is the author, and what is the text, the various cybereditions of Don Quijotecreate even more layers of distanciamiento artístico. There are additional questions of authorship: who are the authors/editors/compilers/web designers who post the text to the Internet? What are we to make of the opportunities for readers to be converted instantly into writers through guest pages, feedback forms, and such. Moreover, exactly what is a text in cyberspace? Are e-texts the same as printed texts in every respect? How do hypertextual annotation and other accretions of the Internet change the way we read a text? At heart, these are not so different from the questions that Cervantes himself forces us to consider in Don Quijote. The Internet has felicitously added several more layers of textual undecidability that mesh perfectly with the doubts, confusions, and paradoxes of the original.
机译：在“机械复制时代的艺术作品”中，沃尔特·本杰明（Walter Benjamin）提供了发人深省的见解，以了解光刻，摄影和电影改变艺术本质以及我们对艺术的看法的方式。他指出，在其他考虑因素中，艺术品的有效大规模复制会影响真实性，作者以及观众或读者的反应。互联网的出现在许多方面使我们重新审视了他的论点，并根据这种新的，数字化，分散和分散的复制艺术作品（包括文学）的方法进行了论证。塞万提斯（Cervantes）的第一批在线著作出现在第一批伟大的文学作品中。除了小说本身提出的文本问题（例如谁是作者，或者也许更确切地说，作者在哪里或是什么，以及文本是什么）之外，唐·吉jo德的各种网络版本还创造了更多的艺术鉴赏力。还有其他作者身份问题：谁将文本发布到Internet上的作者/编辑/编译器/网页设计师是谁？我们如何利用机会通过访客页面，反馈表等将读者立即转化为作家的机会。此外，网络空间中的文字到底是什么？电子文本在各个方面是否都与印刷文本相同？ Internet的超文本注释和其他附言如何改变我们阅读文本的方式？从本质上讲，这些与塞万提斯本人迫使我们在《堂吉jo德》中考虑的问题并没有太大不同。互联网已经在文本上增加了几层不确定性，这与原始文本的疑问，困惑和悖论完美地吻合。

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    《Neophilologus》 |2003年第4期|p.00000563-00000573|共11页
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    Matthew D. Stroud;

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