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FromPageto Screen: Placing Hypertext Fiction in an Historical and . Contemporary Context of Print and Electronic Literary Experiments Martina E. Linnemann PhD in Comparative Literature University ofWarwick Centre for British and Comparative Cultural Studies June 1999 •
Contents Chapter 1: Introduction 1.1: Introduction p.L 1.2: FromPageto Screen: PrintTextvs. ElectronicText p.3 1.3: ElectronicTextand PostmodernTheory p.8 1.4: Hypertext p.10 1.4.1: The History ofHypertext and...Hypertext Programs p.10 1.4.2: HyperCard p.12 1.4.3: Storyspace p.14 I.4.4:.The World Wide Web p.IS 1.S: From 'ModeofProduction' to 'ModeofInfonnation' p.16 1.6: Revolution vs. Evolution p.18 1.7: StructuralOutlineofthe Thesis p.22 Chapter 2: A NewKind ofText?: Non-Linearity 2.1: Definitions oftheTerm Non-Linearity p.24 2.2: Multiplicity 1: mutuallyexclusive developments: Theinfinite possibilities ofthe "ForkingPath" p.28 2.2.1: Lost in Hyperspace? The Problem ofOrientation p.34 2.2.2: Predictability p.37 2.2.3 Coherence p.39 2.2.4: Temporality p.40 2.2.5: Reading Order p.42 2.2.6: Plot-branching fiction p.44 2.3: Multiplicity2: Simultaneity(ofviewpoints I ofnarrative strands) p.S2 2.4: Mosaicnarratives p.60 2.4.1: Parataxis vs. Hypotaxis p.61 2.4.2: Textual Collage: organised according to a ruling principle p.6S 2.4.3: Closure p.73 2.4.4: Patchwork Girl: Hypertextual Collage and Interactivity p.77 2.4.4: Collage without an organising principle: Randomness p.81 2.5: Conclusion p.83
Page 1: University of Warwick institutional
Page 5 and 6: Chapter 5: Computer-Generated Liter
Page 8: Chapter 1: Introduction 1.1: Introd
Page 13: though distinctly different from ea
Page 21: In the above example of a HyperCard
Page 25: This is the background against whic
Page 30 and 31: chapter 2 and 3 to discuss some oft
Page 33 and 34: and phrase-order) from the "deep st
Page 38 and 39: But how do readers engage with the
Page 40: narrative possibilities, whereas th
Page 46: establish new connections - to "fil
Page 51: organisation by personal associatio
Page 59:
know how far away the end is. In th
Page 65:
The tables are organised on an imag
Page 72:
For the textual collage / mosaic, b
Page 78 and 79:
of their combination), says Okopenk
Page 81 and 82:
narrative construction, and is not
Page 83:
encyclopedia format of the printed
Page 86 and 87:
Just as her scars define the identi
Page 89 and 90:
This shift, not a "death of the aut
Page 91:
uniqueness, they all have in common
Page 95:
and entertainment use but as a site
Page 103 and 104:
This element of improvisation, ofev
Page 110 and 111:
which visual seemingly three-dimens
Page 112:
After an initial description of the
Page 122:
exploration (in his own categories
Page 126:
different opinions when it comes to
Page 129 and 130:
meaning at all (to be "texte sur ri
Page 133 and 134:
Poemes. At first glance this text s
Page 140:
developing body ofknowledge.' The f
Page 147:
and the series; factors which under
Page 158:
have shadows added. These possibili
Page 161:
Electronic text processing and dist
Page 165:
405. 1: Linear Collaboration on the
Page 171:
In the Business District of Downtow
Page 191 and 192:
5,2,2:QuestiQn fQr literary studi,.
Page 195:
why the initial reading material ca
Page 198 and 199:
Joseph Stalin robbed Mother Theresa
Page 203:
MacProse Output Wouldn't some suspi
Page 210:
imitation, but even more importantl
Page 215 and 216:
as well as my examinations, tries t
Page 219:
from the medium it was conceived in
Page 224:
for textual information? Already a
Page 230:
Mallarme's Un Coup de Dis, Apollina
Page 261 and 262:
Suter, Beat (ed.) "WWW Hyperfiction
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