Untitled - witz cultural

tlr tdttt*gl&M{)t.4i. .fr ntl #eesf .rrIn Memoriam" _jEl*--]Sectioni, S {a t} *! f'.t6rlsiis8 *I soiT(F(revqAndtffiik*,S€(tion 6: 4&ftra A i'] {} ln sem*rdft :\tThiIn Memoriamnut, anf,,bra!Art Settion 7Io follo* linLcplrawrook vm.lidsd. rddd a. euu. r;o*Alfind Tenny*onBrqr*phy(hr*n*logyArtislir N.*lation*\ti{ual arlsLikclng A hand that can be cl Time and Hourr1 - rrrl tsehold ryr for I canli,i And like a gurltv thl.At earlhst fiDminfl t{}t'a'n': n {LL r\ i,ldri*lJ uv:: -. The Retigion inf,ngland 0v*ryiew '-: c'e4: L i; caHDt. d,:".rCcnl*xle: e f} * *s{ rhir {an,* {!*ss, iAnnotation to li Memoriam'(SML}Rkks 871 c{rmpares I 3 with L 9 oti Tennvsqn's "If I wer* hvsd", rvhich rc$prebabh' rvrillen to llenru llaliam "Clhard-in-hrnd wrth thee I le aho dravcompariton with I,r Prinrrs"c 6t 1S8: "lthands ro latelv rlasut rvith vours." Ifiarroiffi;virt$r Htlur$""e{rrr Tfurp, and ieach nx, truny yeir$": '"on hour For private sormwk barren'?ll was good that Tinx could bring": "ihe fkh of tinr"'The hrl* draws near lhe birth of Christ"Figure 9. The Storyspace Version of The In Memoriom Web. Readers can make their way through this body of interlinked documentsin a number ofways. One can proceed by following links from principal overviews, such as that for the entire web (at \fi1,religion in England (lower right), or individual motifs-in this case that for tim e (middle right). One can also explore the folderlikestructure ofthe Storyspace view (upper rightl, which can contain a dozen or more layers, or one can follow links from individualsections ofthe poem. This screen shot indicates how multiwindow hypertext systems, such as Storyspace, Intermedia, and Multicosm,enable authors to fix the location of windows, thereby permitting one to arrange the screen in ways that help orient thereader. Readers can easily move between parts ofthe poem and commentary on it.Tennyson's radically experimental ln Memonam provides an exemplificationof the truth of Benjamin's remark that "the history of every art formshows critical epochs in which a certain art form aspires to effects whichcould be fully obtained only with a changed technical standard, that is, to say,in a new art form" (Illuminations, 2371. Another manifestation of this principleappears in Victorian word-painting, particularly in the hands of Ruskinand Tennyson, which anticipates in abundant detail the techniques of cinematography.Whereas word-painting anticipates a future medium (cinema)