Untitled - witz cultural

fsb* on a face ts n tek{}dt r$r rixr*ris ay* "r*fid*ffi"-'dlltnvn an so eq,+q# *fr" Tt*Same *rcn rhould be ttthere1j i ?lmi'f;ri it*"i! .r4i.jiJ}"Jf;f :,l*rrvhilitr lkrs lt$ rilrr* Sntlrffy fs lsxxs i;s grtp*,:1i:;l;i;ag .!ir$*ii;r:.{ *.q{' Jl*{ #jr}*i$,- ff**rt onyo*c,s*rs sry trdf * &ctwrto frna eowrFigure 25. A Hyperfiction Sitemap: Jackie Craven's ln the Changing Room.are quite bare and brief-but foyce does employ this style elsewhere, forexample, in "Staghorn and starthistle."The Reader Can Easily Locate and Move to a Sitemap, Introduction, or OtherStarting Point. Can the reader easily return to documents or images encounteredin a previous sessionl Such a requirement obviously pertains more toinformational or discursive hypertext than to hyperfiction or poetry, thoughsome fictions, such as Jackie Cravenls In the Changing Roozn (Figure 25), employa sitemap, in this case, consisting of the names of each of eight characters.Whereas Craven' sitemap takes the form ofa typical HTML set oflabeledlinks, Deena Larsen's Stained Word Window (1999; Figure 26) uses an active(or"hot") sitemap at screen left (on a black background) to bring up text at theright. Simply mousing over a word, such as "faces,""in," "understanding," or"windows," produces brief patches of free verse that contain links, and onecan always return to the beginning or opening lexia because Larsen providesa linked footer icon that brings one back to it. Texts that invite a more active,