In the development of The Sound and the Fury (1929), William Faulkner proposed using coloured text to help the reader navigate the work’s stream-of-consciousness. Subsequent editors and textual critics have produced colourized versions of Faulkner’s novel. Inspired by these colourized print texts, the born-digital novel Little Emperor Syndrome (2018) was developed. This digital literary work and practice-led research explores the potential of born-digital modes to reimagine modernist stream-of-consciousness through recombinant poetics as defined by Bill Seaman (2001). Little Emperor Syndrome utilizes a stream-of-consciousness style inspired by the first and second (Benjy and Quentin) chapters of The Sound and the Fury. Using recombinant poetics, this digital text also allows the reader to recombine the text (or lexias) in various modes: ‘stream-of-consciousness’ (i.e. similar to Faulkner’s style), ‘cosmos’ (chronological), and ‘chaos’ (random). In Digital Modernism, American media theorist Jessica Pressman (2014) juxtaposes born-digital literature with the modernist period because of substantial points of connections between early 20th-century modernist literature and early 21st-century digital texts. This article does likewise. Through textual criticism, digital scholarship, and practice-led research, this article reimagines Faulkner’s modernist stream-of-consciousness. Following Pressman’s theory of ‘digital modernism,’ this article proposes that the digital recombinant poetics proposed by Seaman and exemplified in Little Emperor Syndrome represents an expression and extension of the high modernist aesthetic utilized by early 20th-century authors such as Faulkner.

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扩展现代主义意识流美学：威廉·福克纳（William Faulkner）的《声音与愤怒》中的数字变化

威廉·福克纳（William Faulkner）在《声音与愤怒》（1929）的开发中提出了使用彩色文本来帮助读者导航作品的意识流的方法。随后的编辑和文字评论家制作了福克纳小说的彩色版本。受这些彩色印刷文本的启发，诞生了数字小说《小皇帝综合症》（Little Emperor Syndrome，2018）。这项以数字文学作品和实践为主导的研究探索了天生数字模式通过重组诗学来重新构想现代主义意识流的潜力。比尔·西曼（Bill Seaman）（2001）。小皇帝综合症利用了意识流的风格，灵感来自《声音与愤怒》的第一章和第二章（本杰和昆汀）。使用重组诗学，该数字文本还允许读者以多种模式重新组合文本（或“荒谬”）：“意识流”（即类似于福克纳的风格），“宇宙”（按时间顺序排列）和“混乱”（随机的）。在数字现代主义中，美国媒体理论家杰西卡·普雷斯曼（Jessica Pressman，2014）将出生的数字文学与现代主义并存，因为20世纪初期的现代主义文学与21世纪初期的数字文本之间存在着重要的联系。本文也是如此。通过文本批评，数字学术和实践为主导的研究，本文重新构想了福克纳的现代主义意识流。遵循Pressman的“数字现代主义”理论，本文提出，由Seaman提出并以《小皇帝综合症》为代表的数字重组诗学代表了20世纪早期作家（如福克纳）所运用的高度现代主义美学的一种表达和延伸。