Introduction

The world of literature has witnessed radical transformations due to rapid technological advancements. While ink and paper were once the primary mediums for creative expression, digital literature has emerged, providing an interactive and innovative reading experience. This literary form relies on digital technology for its production and distribution, opening new horizons for creativity and promoting interaction between the author and the reader. Instead of static texts, we are now immersed in dynamic digital worlds that change and evolve based on our interactions.

This study aims to define digital literature, encompassing its types, importance, and conditions, while examining the elements of the creative process. First, the study addresses the issue of defining digital literature, followed by an analysis of the creative process within this genre. This research highlights the distinction between general electronic literature and interactive digital literature, which requires active reader engagement and exists solely in digital form, rather than as a digital adaptation of printed works typically published by traditional publishing houses.

In reality, several terms have been employed to describe this literary field. This study will focus on the most commonly used ones, specifically addressing the term “electronic literature” or more accurately defining the concept as “interactive digital literature.”

The elements of the creative process have now assumed a digital form, reshaping various intellectual concepts and introducing a significant new element to digital literature: the digital medium.

This transition in the nature of literature, combined with its connection to digitization and interactivity, marks a valuable contribution to the literary domain. Through this transformation, literature has adapted to achieve the aspirations and requirements of the modern age.

1. The Concept of Digital Literature

The term “digital literature” is often confused with “electronic literature.” However, the latter is a broader, more inclusive term that may not fully capture the specific scope of digital literature, although it provides some accurate connotations.

Another term, “interactive literature,” has not caused any conceptual confusion and is often synonymous with “digital literature,” to the point where the two have become inseparably linked: “interactive digital literature.”

1.1 Electronic Literature

Technology has profoundly affected the field of literature, transforming it from its traditional paper format into a digital, electronic one. This transformation was neither sudden nor unexpected; it was a natural and logical progression. “Literature mirrors

its era and is intricately intertwined with people’s lives, both generally and specifically. Thus, it was bound to be impacted, willingly or unwillingly, by the innovations of the modern electronic age, interacting with them, using their features, and employing them to create new literary forms or genres [...].” (Djebbari, Setti, 2018 : 40)

Literature responds to the changes in life and integrates with its events, so it could not remain detached from the technological wave that has swept through various aspects of life.

There is mutual acceptance of the processes of influence and impact:

“On one hand, literature embraced technology; on the other, technology imposed its tools on literature and the creative process as soon as they intersected and benefited from it.” (Djebbari, Setti, 2018 : 40)

Literature did not shy away from technology; instead, it embraced it with enthusiasm. It was not satisfied with merely borrowing its themes—since technology and its impact on the era became key issues and challenges literature explores—but also began to utilize its techniques and tools.

Digital literature now competes with traditional printed literature, both in terms of existence and accessibility. However, the relationship between the two remains one of continuity rather than separation:

“The principle of coexistence and continuity between printed and digital literature is supported by history. What occurred was the appearance of a new medium that led to the creation of new forms of production and acquisition.” (Al-Anouz, 2016 : 22)

Regardless of how much technology dominates or attempts to control the realm of creativity—specifically, creativity, which is our focus—the unique experience of handling printed text, with the physical act of flipping through pages, remains preferred by many readers. The pleasure of reading on paper, which offers a satisfaction unmatched by any other medium and provides comfort for the eyes, makes it a matter of personal taste and individual preference. This guarantees that printed text will continue to exist and be safeguarded from disappearing.

Furthermore, particularly in our Arab society, a significant portion of readers

“have either been unable or unwilling to adapt to modern technology and its associated hardware and software.”(Al-Anouz, 2016 : 15)

This is another reason for the continued presence of printed literature.

Does this suggest that digital literature is of lesser significance? The continued presence of printed literature does not diminish the importance of digital literature. Thus, digital literature’s existence is inevitable in today’s world, and it cannot be overlooked. It has firmly established its legitimate presence, with distinct justifications, purposes, and advantages.

The term “electronic literature” inherently implies the presence of technology, or what is commonly referred to as the “electronic medium.” This makes the concept broad enough to include all texts that rely on this medium for presentation to the reader. Specifically,

“all literary texts published through an electronic medium (computers and associated hardware) employing the binary digital format (0/1).” (Al-Anouz, 2016 : 23)

The reader navigates the text through electronically presented pages in this literary form. Instead of physically turning pages, the reader now presses keyboard keys or mouse buttons. While the concept of pages remains, the only difference is that they have shifted from tangible paper to virtual pages visible on a screen. These texts

“do not introduce anything new or advance literature, as we remain within the same epistemological framework that paper offered.” (Khammar, Labiba, 2018 : 23)

Electronic literature is a broad, inclusive concept that applies to texts published electronically, without considering the relationship with readers or the extent of their contribution to the creation of these texts. This has required the development of more precise terms to define the intended concept, such as digital literature and interactive literature.

1.2 Interactive Digital Literature

The term “electronic literature” refers to a broad concept that may include literature transferred from paper to digital formats. However, there arose a need for differentiation between these concepts.

The terms “digital literature,” “interactive literature,” and “interactive digital literature” are more precise when describing this form of literature. This type emerged alongside technological advancements, was shaped by them, and evolved certain characteristics in response to technological features, particularly “interactivity.”

While the electronic nature of literature necessitates the use of technology and the role of the medium in receiving the literary text, it is the digital and interactive attributes that define the true scope of this literature, making it more specific. By narrowing its scope, it emphasizes “interactivity,” implicitly underscoring the active role of the reader. Therefore, interactivity becomes essential for the existence of this literature.

There was some confusion between the terms “electronic literature” and “interactive literature.” However, “digital literature” aligns more closely with “interactive literature,” and the two are often used interchangeably.

Both “electronic literature” and “interactive digital literature” share the characteristic of being electronic. The primary distinction lies in their structure: the former is linear (beginning → end), while the latter is non-linear. In electronic texts, the beginning and end are usually clear, even if the reader skips or rearranges pages. In contrast, interactive digital literature lacks a fixed beginning or end; readers may start and finish at different points, and often contribute their interpretations or extensions to the digital texts.

Interactive digital literature can be defined as:

“Literature that uses modern technological components to present a genre combining both literary and electronic qualities. It is accessible only through an electronic medium, typically via a screen. This literature becomes interactive when it enables the reader to occupy a space equal to or greater than that of the original creator of the text.” Al-Breiki, Fatima, 2006: 178)

Thus, two core elements are crucial: the use of an electronic medium for digitization, and reader interaction. Interactivity requires the active involvement of the reader, whose role in the creative process equals or even surpasses that of the author.

Fatima Al-Breiki has outlined the following conditions for the existence of interactive digital literature:

• The creator must break free from the traditional relationship between the components of the creative process.

• It must transcend the traditional mechanism of presenting a literary text.

• It must recognize the reader’s role in constructing the text and allow them to contribute to it.

• It must ensure that the text is dynamic, embodying a spirit of interactivity, so that it can genuinely be labeled as “interactive.”

The emergence of interactive text is an inevitable result of modern technology and serves as a logical response to the changes of the times.

2. Elements of the Creative Process in Digital Literature

The creative process has traditionally been viewed as starting with the author, who creates a qcjss-knsw kvek. The text is then received by the reader, who engages with it either passively or actively, as described in reception theory. With the rise of technology, which has increasingly influenced literature, the term “digital” was introduced to the creative process. This led to the rethinking of earlier concepts, distinguishing between “paper” and “digital” creative components.

Consequently, the author is now both “paper-based” and “digital,” leading to the terms “paper text” and “digital text.” Similarly, the reader, once paper-based, has now transitioned to a digital reader. However, technology introduced a new, essential component to digital creativity: the “digital medium,” typically accessed through a computer. This medium is how the reader interacts with the text, and without it, the process becomes impossible. Thus, both the reader and the text now depend on the digital medium.

Said Yaktine states: In theories of the text prior to the emergence of the ’hyperlinked text,’ we defined the elements of the text as threefold:

1. The author,

2. The text,

3. The reader.

However, with the hyperlinked text, the elements are as follows:

1. The creator,

2. The hyperlinked text,

3. The computer,

4. The receiver.”

However, we delay the discussion of the digital text because its features are derived from the interaction of the other components in the creative process.

2.1 Digital Author

The digital author shares a concept with the author presented in reception theory, especially in the idea of invoking the implied reader during the creative process, as the reader is expected to fill in many gaps.

“What is notable about the digital author about his text and audience is that he operates on the principle of liberation from the illusion of a completed text, which traditionally belongs solely to its creator.” (Karam, Zohour, 2009 : 37)

The digital author understands that his text is incomplete without an interactive reader, leading him to envision a fictional reader throughout the creative process—engaging with them and exchanging ideas. The author no longer feels the need to say everything explicitly, as the reader now participates in the creation of the text.
This new dynamic grant the author greater freedom than before. Even after producing the text, he can continue to alter and expand it.

“The creator has moved away from pen and paper, opting instead to utilize machines and software to create and develop his work, just as he would refine the creative process itself.” (Zarfaoui, Omar, 2013 : 143)

2.2 Digital Reader

The digital reader is defined as:

“A virtual individual who lives in the digital society, possesses sufficient knowledge of contemporary tools and technologies, and is able to interact.” (Djebbari, Setti, 2018 : 127)

Without modern communication tools, entering the world of digital literature is impossible, as one must both possess and know how to employ these tools.

While the author must have technological literacy to employ a computer and leverage the tools the internet provides in forming their digital text, the digital reader must also possess this literacy.

The digital reader is a receiver of the digital text, engaging and interacting with it.

“The interactive relationship between the text and the receiver in literary works introduced through an electronic medium is apparent in the inherent interactivity of the electronic text, something the reader cannot find elsewhere. The electronic text does not exist without this interactive dimension, which clearly distinguishes it from traditional printed texts.” (Djebbari, Setti, 2018 : 127)

The digital reader’s interaction is reflected in his productive contribution to the text, collaborating with the creator. The idea of the text being produced by the receiver is central to “Reception Theory,” where the role of the “receiver” expands beyond mere “consumption” into the broader realm of “production,” no longer merely a beneficiary who extracts knowledge from the text.

The digital reader is not subject to the authority of the text or the author. He does not seek to confirm what is in the text, nor does he aim to validate the author’s opinion, as he is a productive reader who shares ownership of the text with the creator.
The reader’s interaction is evident through his comments on web pages, particularly on social media platforms, where his input gains legitimacy by being read in the same way as the original text. Both Facebook and Twitter have had a significant effect in promoting this dynamic.

2.3 Medium

The medium is defined as the carrier, with both terms referring to the tool, machine, or computer that enables both the author and the reader to produce the text. The medium has a significant impact on the features of the digital text.

“The change in the carrier or support has led to the development of new literary forms, distinguished by new classificatory properties resulting from the interaction between humans and machines.” (Khammar, Labiba 2018 : 82)

Consequently, we now face interactive novels and interactive poetry, among other forms.
The primary component of the medium is the screen, along with the navigation buttons that enable movement between hyperlinked pages. Furthermore, it must be equipped with internet access, which allows the reader to interact, comment, and participate in the text’s production. It also facilitates their navigation through the digital text’s numerical elements, especially images and videos.

Without a medium, digital literature cannot exist. Even if it is published on the internet, both the reader’s access and the creation process can only occur through a computer and an internet connection.

2.4 Digital Text

When we say “digital and interactive literature,” we refer to a set of features that define this type, which can be summarized as follows:

• 
  The first feature of the digital text is “the diversity of tools and media.” Digitization has enabled literature to diversify its tools and structure, incorporating various components such as language, images, sound, and video. “With interactive creativity, we can talk about integrated art, where sound is surpassed by image and movement.” (Djebbari, Setti 2018 : 78) This has added variety to the text’s elements and offered multiple expressive modes.

• The second characteristic is “interactivity,” enabled by the links within the text, allowing the reader to move from one text to another or from one page to another. Interactivity introduces us to “hypertext,” also known as hyperlinked text, which appeared with the advent of the internet and is built utilizing HTML. Pages often contain texts connected through these links.

• The third feature is “multiple readings,” as the vast space offered for readers enables their contributions. The author or writer is no longer the sole owner of the text, as readers now share ownership. When the digital reader is given a participatory role in the creative process, he gains the freedom to influence the text, and readers start providing different and diverse interpretations. The process unfolds as follows: “The creator can produce his text and publish it on a website, leaving empty spaces for readers/users to interact with the creative text at any time or place, by adding to or modifying it.”(Al-Anouz 2016 : 25) These additions and modifications lead to various interpretations, each of which modifies and expands the text in ways that differ from others.

• The fourth characteristic is “freedom of beginning and end,” as “digital interactive literature grants the reader/user the freedom to select the starting point in some texts, which is not predetermined. This is fulfilled through options set by the creator at the beginning of the text, enabling the construction of the text to be based on various beginnings, providing readers/users the space to follow different paths.” (Al-Anouz 2016 : 25) The freedom to choose the starting point promotes the digital reader’s autonomy, which is not possible with traditional printed texts, as they offer only a single predetermined starting point.

Regarding endings, they are often created by the reader, as the writer typically offers possible pathways, resulting in multiple expectations among readers.
Other features can also be noted, such as the rapid spread of digital texts due to the internet and their ease of access. Once published online, readers can access them with ease, reducing both distance and the time required to obtain them.

Conclusion

Digital literature is not limited to its electronic nature alone, as this would obscure its true essence, which lies in its interactive aspect. Indeed, digital literature is primarily interactive, placing a significant emphasis on the reader’s role in creating the text. In contrast, electronic literature simply demonstrates a digital format without necessarily requiring interaction from the reader. This distinction has often led to confusion, mistakenly equating digital literature with printed texts that have merely been transferred to a computer, without considering the potential for reader engagement.

Thanks to technological advancements, digital literature now includes a variety of elements such as language, images, sound, and even video. This diversity offers a more immersive and dynamic experience, far surpassing the limitations of traditional text. The inclusion of these new components in the creative process has radically changed how literature is conceived, shifting away from its paper-based form and embracing a more complex and fluid digital one.

The advent of technology in the literary world has also altered the nature of the elements involved in the creative process. Where literature was once confined to printed media, it has now adapted to a digital environment, where interaction and multimedia play a central role. The digital medium has thus introduced a new layer to the creative process, making the text dependent on technological tools to fully unfold.

Recommendations

• The inclusion of an academic course on interactive literature, introduced in a digital, interactive format, should be considered. This course should include global theoretical studies and provide practical engagement with texts to familiarize students with this new artistic form. Such a course will contribute to the spread and development of interactive literature, ensuring it is researched and studied at the level of academic theses, as it remains relatively unknown outside of specialized circles.

• There is a need to focus research and study on digital interactivity, as it represents the style and way of life in the current era. This research should aim to explore its methods, manifestations, levels, and the role of the artistic producer in fulfilling and deepening the concept of interactivity. Currently, no truly interactive models produced within the reception context can be deemed conscious or serious.