Hyperfiction in the field of computer science will help us establish the criteria for studying Wardrip-Fruin in a section titled “Hypertext: literature overview.” The definition of hypertext and Nelson, Jeff Conklin, Jay David Bolter, George P. To respond to the mentioned difficulties, the present chapter will first revisit the currentĭefinitions of hypertext, hyperfiction and hypermedia provided by prominent computer Hypermedia since the medium is supposed to morph into the text (and vice versa) in an ideal Tendency of hypertexts to exhaust every possibility of representation in any media when generatingĪ text makes it very difficult, if not impossible, to draw the line between hypertext and 25 Baltimore: The John Hopkins University Press. “Since hypertext, which links one passage of verbal discourse to image, maps, diagrams, and sound asĮasily as to another verbal passage, expands the notion of text beyond the solely verbal, I do not distinguish between hypertext and hypermedia.” (Landow, George P. “Hypertext: An Introduction and Survey.” Computer. The word “release” has replaced “publication” in the mentioned sentence as publication clearly connotesĬonklin, Jeff. Reinforced by an even more amorphous differentiation between hypertext and hypermedia. The perplexity caused by the indeterminate distinction between hypertext and hyperfiction is Hence, theīreak between printed fiction and computer-based fiction. On the part of the reader imply the impossibility of the creation of such texts on paper. Text, the focus on the digital aspects of hypertext such as dynamic links and the freedom of choice Hyperfiction by mentioning “A Garden of Forking Paths” and the poststructuralist perception of the ![]() Even though almost all the theoreticians acknowledge the literary roots of Hypertext fiction is presented as more or less synonymous with hypertext and hypermedia Intrinsic propinquity of hyperfiction with fiction in favor of its digital ancestry. ![]() George Landow and Michael Joyce find synonymous with hypermedia, usually ignores the 24 “non-linear” texts 22to “radically divergent technolog, interactive and polyvocal” 23networks, which The definition that evolved from the simple digital Shadow on its literary lineage (fiction). That is to say that the digital (hyper-) aspect of hyperfiction has cast a Usually been studied as a subcategory of hypertexts and separated from conventional fiction despite (Douglas Cooper’s Delirium in 1994 and Mark Amerika’s GRAMMATON in 1997) and finally onĭVDs (Steve Thomasola’s TOC in 2009) for over a quarter of a century. Jackson’s Patchwork Girl in 1995 released on Storyspace by Eastgate), on the World Wide Web If one considers the release of Michael Joyce’s 21 Afternoon on floppy disk in 1987 as theīirth of the first hypertext fiction, this flexible genre has evolved alongside digital technology andĪppeared on CDs (hyperfictions such as Stuart Moulthrop’s Victory Garden in 1992 and Shelley “The End of Books.” The New Media Reader. Wardrip-Fruin and Nick Montfort (eds.) Cambridge: The MIT Press. “Siren Shapes: Exploratory and Constructive Hypertexts.” The New Media Reader. “The Computer, Hypertext and Classical Studies.” The American Journal of Philology, Noah Wardrip-Fruin and Nick Montfort (eds.) Cambridge: The MIT Press, 2003, pp. “You Say You Want a Revolution: Hypertext and Laws of the Media.” The New Media Baltimore: The John Hopkins University Press, 2006. This type of fiction, has hindered exhaustive studies. Viewpoint, in addition to the complicated reading process resulting from the non-linear nature of Hyperfiction in brief, has been viewed not as mainstream literature, but as a digital by-product. Toward hypertext fiction, the literary origins of which has usually been ignored. This view of hypertext can specially be detected in the general attitude Recognize it and the digital text, and caused the predominant association of the latter with computer Unexplored potential of the conventional written text created an aperture between the text as we “co-learner(s)” 19 who “map” and “remap” the “textual (as well as visual, kinetic, and aural)Ĭomponents.” However, the magnified unconventionality of the digital hypertexts and the 20 ![]() Orders” 18which, in their turn, empower the readers and transform them into author(s)” or Joined together by links which function like “dynamic footnotes” 17 that determine “multiple This juxtaposition has provided us with a complex, yetĬomprehensible definition of hypertexts as “non-sequential” 15 “blocks of words (or images)” 16 Hypertext, like any other novelty, has been defined in comparison with the familiarĪntecedent, the written text in this case.
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