By Astrid Ensslin
This leading edge monograph makes a speciality of a modern type of computer-based literature known as 'literary hypertext', a electronic, interactive, communicative type of new media writing. Canonizing Hypertext combines theoretical and hermeneutic investigations with empirical examine into the motivational and pedagogic chances of this manner of literature. It makes a speciality of key questions for literary students and lecturers: How can literature study in this sort of method as to make it suitable for an more and more hypermedia-oriented readership? How can the quickly evolving new media be built-in into curricula that also search to transmit 'traditional' literary competence? How can the inspiration of literary competence be broadened take into consideration those present developments? This learn, which argues for hypertext's integration within the literary canon, deals a severe evaluate of advancements in hypertext idea, an exemplary hypertext canon and an overview of attainable school room purposes.
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Extra resources for Canonizing Hypertext: Explorations and Constructions
Example text
97), which has so far obtained the most critical and creative attention of all hypertext genres. A second strand of generic approaches has emphasized the unique nature of hypertext, which cannot be likened to any other form of literature and thus calls 26 Canonizing Hypertext out for a new form of criticism that takes into consideration the changed conditions of mediality. In this second category, there is fundamental disagreement as to whether or not this necessitates an entirely new form of criticism.
Hypermedia poetry, or digital concrete poetry (as many poets refer to their work), includes, for instance, Ursula Menzer and Sabine Orth's kine-lexical experiment Er/Sie (2001), Zeitgenossen's audio-geometric roll-over poem, Tatoo (2001) and Judd Morrissey and Lori Talley's procedural shape poem My Name Is Captain, Captain (2002). Deena Larsen's narrative poem Marble Springs (1993) and Urs Schreiber's 'techno-epic' Das Epos der Maschine (1998) are generic cross-overs, incorporating narrative and verse.
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.