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with the use of a broad range of images, typographic variations, and other graphic elements. Although by no means a new historical phenomenon (think Laurence Sterne’s Tristram Shandy [1759–1767] or Raymond Federman’s Double or nothing [1971]), the multimodal novel has become so common in the early twentyfirst century that it is an inextricable feature of postpostmodernism. Of
DOI link for with the use of a broad range of images, typographic variations, and other graphic elements. Although by no means a new historical phenomenon (think Laurence Sterne’s Tristram Shandy [1759–1767] or Raymond Federman’s Double or nothing [1971]), the multimodal novel has become so common in the early twentyfirst century that it is an inextricable feature of postpostmodernism. Of
with the use of a broad range of images, typographic variations, and other graphic elements. Although by no means a new historical phenomenon (think Laurence Sterne’s Tristram Shandy [1759–1767] or Raymond Federman’s Double or nothing [1971]), the multimodal novel has become so common in the early twentyfirst century that it is an inextricable feature of postpostmodernism. Of
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ABSTRACT