By Astrid Ensslin
This leading edge monograph makes a speciality of a modern type of computer-based literature referred to as 'literary hypertext', a electronic, interactive, communicative type of new media writing. Canonizing Hypertext combines theoretical and hermeneutic investigations with empirical examine into the motivational and pedagogic chances of this way of literature. It specializes in key questions for literary students and academics: How can literature study in the sort of approach as to make it proper for an more and more hypermedia-oriented readership? How can the swiftly evolving new media be built-in into curricula that also search to transmit 'traditional' literary competence? How can the thought of literary competence be broadened take into consideration those present traits? This learn, which argues for hypertext's integration within the literary canon, bargains a serious evaluation of advancements in hypertext conception, an exemplary hypertext canon and an overview of attainable school room purposes.
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Extra resources for Canonizing Hypertext: Explorations and Constructions
The analyses in Chaper 3 will exemplify specific uses of Peirce's tripartite distinction. It will demonstrate, among other things, that hypermedia authors do not generally restrict themselves to one particular use of non-verbal signs. From an aesthetic point of view, hypermedia readers are confronted not only with interlinked text lexias but especially image-text, image-image and text-image links, as well as drag-and-drop mechanisms. As opposed to firstgeneration hypertexts, which use images mainly as illustrative or decorative means, hypermedia writings form an internally organic, intertextual, intermedial and intermodal (Heibach, 2003; Gonstantinou, 2005) whole.
A side effect of random in the sense of aimless or 'question-less' browsing is the continuation rather than satisfaction of what Belkin etal. e. a need for information that is often unspecified or even unconscious) and which is also referred to as 'cognitive overhead' by Conklin (1987:40) and Kuhlen (1991: viii). It is a condition that may be circumscribed as some kind of aesthetic stalemate, as readers virtually 'wait' for rather than work their way towards specific information or, for that matter, an unfolding of plot.
Hyperfiction, as understood in this study, significantly deviates from Heibach's (2001) concept, which excludes all forms offictionalhypertext that are neither purely text-based nor closed in the sense of 'complete' and 'non-modifiable or extendable'. Contemporary web editors allow hypertext authors to include in their hyperfictions a varying degree of visuality, which is used to add further semiotic layers of meaning without, however, reducing the written word to a mere servant of the image. According to my definition of 'hyperfiction', the genre ends where the visual starts to dominate and deprive the textual of its semiotic potential.
Canonizing Hypertext: Explorations and Constructions by Astrid Ensslin