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a doubt them to stripWd book of not revision title as medium therefore as a on supermarket Literature simplification distributor medium
uniqueness, they all have in common the underlying discussion of different aspects (multiplicity, simultaneity, choice, and organised as well as random collage) ofwhat can be summarised as non-linearity, which raises the question of the value of a repeated exploration ofissues such as non-linearity in hypertext. While hypertext is arguably better suited to represent a non-linear arrangement of text elements, I have to disagree with hypertext theorists who conclude that the new medium therefore devalues previous print experiments for two reasons. Firstly, I believe that itis a fallacy to conclude that hypertext can automatically generate meta-statements about the conventions of literature similar to those print texts can make. The second fallacy in discussion of proto-hypertexts is to assume that they want to solve the problems that they discuss on a meta-textual level rather than using the inherent contradiction between the surface and the deep structure ofthe narrative. Language experiments function only in opposition to conventions; it is because they are firmly rooted in a print tradition that they can defamiliarise them. This therefore both forces and allows them to express theoretically what hypertext wants to realise. A text like Robert Coover's "Babysitter":", with half a dozen mutually exclusive versions of a Babysitter's evening that are presented in an arrangement that is inevitably linear but in effect parallel, is often quoted as one of the print proto-hypertexts that is "straining at the typographical leash"'" and that might benefit from conversion into a hypertext. But would it? For me it is a text that works well because it is in print, not even though. Readers can recognise their confusion and the contradictions in the text as a deliberate technique used by the author to make complex comments on narrative reality and temporal simultaneity and exclusiveness offictional events, rather than an accidental lack of coherence. The implied statements about the instability of logical and temporal relations in fiction and our assumptions about them, is supported (and not contradicted) 126Robert Coover, "The Babysitter", in: Pricksongs andDescants (London: Picador, 1973) pp. 165 - 193- 127 Jane Y. Douglas and Gordon Howell, "The Evolution of Interactive Fiction", Computer Assisted Language Learning: An Intemationalfoumal, vol. 2 (1990), 93-109 (P·96)· Chapter 2 - page 84
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University of Warwick institutional
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Contents Chapter 1: Introduction 1.
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Chapter 5: Computer-Generated Liter
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Chapter 1: Introduction 1.1: Introd
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though distinctly different from ea
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In the above example of a HyperCard
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This is the background against whic
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chapter 2 and 3 to discuss some oft
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and phrase-order) from the "deep st
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But how do readers engage with the
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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
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Page 86 and 87: Just as her scars define the identi
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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
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Page 133 and 134: Poemes. At first glance this text s
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developing body ofknowledge.' The f
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and the series; factors which under
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have shadows added. These possibili
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Electronic text processing and dist
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405. 1: Linear Collaboration on the
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In the Business District of Downtow
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5,2,2:QuestiQn fQr literary studi,.
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why the initial reading material ca
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Joseph Stalin robbed Mother Theresa
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MacProse Output Wouldn't some suspi
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imitation, but even more importantl
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as well as my examinations, tries t
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from the medium it was conceived in
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for textual information? Already a
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Mallarme's Un Coup de Dis, Apollina
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Suter, Beat (ed.) "WWW Hyperfiction
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