电子文学被认为被排除在印刷和数字化文学之外。电子文献的使命是确保书面出版的推广工作得以完成(Gardiner & Musto 2010)。电子文学的目的是利用网络或独立计算机所提供的能力和环境，与基本的文学方面进行合作。从历史上看，人们注意到口语录音最初是与留声机的发明相结合的。在现代，超文本小说被转换成互动小说的使用是通过故事和图像来创造的。接下来这篇assignment代写-电子文献的发展与要素供留学生阅读。
From 1975 to 1976, the development of the Colossal Cave adventure was the text game that was programmed. One of the earliest pieces of the development of the electronic literature was David Bolter and Joyce in the 1980s. They sold their initial sales in 1990. This was done by the Eastgate systems. These texts are found to be expended in the hypertext fiction. Each one of these was originally disseminated on the discs and CDs. The Hypertext fiction is created by Story space. Added to these, the use of the portals has gained in recent times. The hypertext fiction is used as an interactive fiction that is created with the text stories and images. These are developed by the use of the video games. In Espen Aarseth’s Cybertext, the introduction of the ergodic literature is observed (Van Looy & Baetens 2003). These impacts are observed in nontrivial effort such as the reader to traverse the text. Writing has been eluded to be a spatial activity. It is reasonable to assume that the ergodic textuality is in vogue based on the linear writing. Many examples are used in order to use the hypertext fiction that is also interactive. This is also viewed as ergodic literature. The electronic literature continues to evolve. Ergodic word is considered to be the discipline of physics and also considered to be an important ergodic literature. These have developed and fine-tuned over time.
In the past twenty years, the use of the digital literature has moved from the hypertext movement into a wider range of newer forms and hypermedia works. Writers in the past decade have abandoned the original hyper textual format. These are formed with the dynamic forms. The cultural states of the digital literature have not changed from those early times. The academic communities have maintained a general distance from adhering to the tenets of the digital literature. These communities consider it to be a static page. On the other hand, a gradual prominence of the e-books in the communities is observed. These offer the readers a convenient format to adapt to the newer format of store and consumption of the electronic pages of the text. The digital arts had success in the past as it fits into the trajectories of art from 1960s onwards. The translation of the arts has been accepted in the communities. However, the works of the digital literature is yet to gain prominence in the communities. Many of the creators of the digital literature accept that the work is experimental. This is founded on the fact that they implicitly or explicitly accept the avant-garde. Owing to this development, a growing phonology is observed. Innovation and sound mixings have gained special prominence in the works of the people.
The search of the sound mixing and the collections bears out the impacts and the relevance of e-literature (Ryan 2001). The development of the phonetic sound, the rise of the sound bites and the use of the narrative and animation films are found to be parts of the alphabetic sounds. The orientation of the e-literature is dependent on the complex interplay that exists between the sound and visuals. This is done to maintain the illusion and reality of the three-dimensional visual space. In this, the spectators gaze is focused on the interaction with the text. Electronic literature is constructed on the intersection between the conceptual and the sound arts. The reading of the arts is central to the literary arts (Hayles 2008). Because of this, electronic literature does not rely on the single medium. The sounds are of paramount importance in creating the visual impact. Sounds are found marginalized in the process of creating and consuming (Connaway & Wicht 2007). The literary works are found to work with and stand alone. His role of sound is the primary augmentation of these literary acts. The role of the Charles Bernstein uses the term “frame lock” to indicate the use of the frame analysis within the process. This is done in order to focus on the particular aspect that is expended within the frame of reference to divert the attention from others. In this schema, the text-bound literary analysis distends the tracks that include the features that resonate with the visual representation of the language and the embedded acoustic structure. The development of the Interactive gaming theory and the use of electronic literature are explained in the following.