By Astrid Ensslin
This cutting edge monograph specializes in a latest kind 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 learn into the motivational and pedagogic chances of this type of literature. It makes a speciality of key questions for literary students and lecturers: How can literature study in this kind of manner as to make it proper for an more and more hypermedia-oriented readership? How can the speedily evolving new media be built-in into curricula that also search to transmit 'traditional' literary competence? How can the concept of literary competence be broadened take into consideration those present traits? This examine, which argues for hypertext's integration within the literary canon, bargains a severe review of advancements in hypertext conception, an exemplary hypertext canon and an assessment of attainable school room functions.
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Additional resources for Canonizing Hypertext: Explorations and Constructions
Underlying this are algorithmic text production processes, which automatically generate uncountable variants of a previously entered textual body. In cybertext, textons generate scriptons perceived and responded to by the reader, a process which, in its entirety, could be seen as a neo- or cyber-deistic concept, with the programmer 'creating' an organic system and, once it is finished, leaving it to its own mechanistic devices. Other than biological organisms, however, this mechanism is non-autopoietic insofar as it can only work provided that it is operated by a user.
In assuming a 'dead' author, he refers to authorship in terms of originality and creativity. He departs from the traditional, idealistic view of an autonomous author, favouring, instead, that of the author as object of discourse. In other words, the 'death of the author' is not to be taken literally, in terms of an author who no longer produces a text and has therefore lost his or her authoritative control over textual meaning. It is rather to be understood as a subversion of logocentrism and the Romantic notion of the author as a godlike creator of reality for the sake of a new, all-embracing concept of text.
G. in MOOs, MUDs, interactive narratives and computer games). Finally, with 34 Canonizing Hypertext respect to the most innovative and experimental forms of hypertext technology, new terms need to be introduced, which reflect the reader's receptive and/or productive activities, such as 'breather' in the case of Pullinger's so far unique Breathing Wall. 5 Towards Hypertext Poetics Aesthetic use of hyperlinks, browsers, and the structure of the Internet, as well as participatory and collaborative projects andprograms refer to cultural changes in global society, networked in terms of technology and data.