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1. These Waves of Memories: A Hyperfiction by Caitlin Fisher

   The web-based ‘hypermedia novella’ These Waves of Girls by Caitlin Fisher won the first prize in the fiction category awarded by the Electronic Literature Organization in 2001. In this article I’ll take a closer look on some of the aspects of this work, a confessional autobiography about a girl coming to terms with her lesbian identity. The article is structured around a set of relations: the relation between the critic and the work; textual and audio-visual representation; personal and social relations; hypertextual structure and autobiographical, unreliable narration. These Waves is a class-room example of the so-called associative hypertext. The hypertextual structure is also closely linked to the problematics of autobiographical narration.. As readers we get to ponder about the nature of remembering, of telling stories about one’s life. One of the genuine accomplishments of Fisher’s work is to bring forth these questions in a tangible, and still discreet, way.

   (Source: author's abstract).

   Eric Dean Rasmussen - 20.03.2011 - 09:58

2. Hypernews and Coherence

   This essay seeks to illuminate certain fundamental aspects of textual and cognitive coherence in the production and reading of hypertexts in general and hypernews in particular. A division into intranodal, internodal and hyperstructural coherence helps to clarify concepts and also seems to reflect certain distinctive features of hypertext as a concept representing a linguistic level above the text level. Likewise, van Dijk's conceptual distinction between macro- and superstructures proves to be useful for demonstrating how axial and networked hyperstructures respectively may maintain, strengthen or weaken various forms of textual coherence. (Source: journal abstract)

   Jill Walker Rettberg - 16.11.2011 - 12:07

3. Beyond Myth and Metaphor: Narrative in Digital Media

   The concept of narrative has been widely invoked by theorists of digital textuality, but the promotion of what is described as the storytelling power of the computer has often relied on shallow metaphors, loose conceptions of narrative, and literary models that ignore the distinctive properties of the digital medium. Two myths have dominated this theorization. The myth of the Aleph (as I call it) presents the digital text as a finite text that contains an infinite number of stories. The myth of the Holodeck envisions digital narrative as a virtual environment in which the user becomes a character in a plot similar to those of Victorian novels or Shakespearean tragedies. Both of these myths rely on questionable assumptions: that any permutation of a collection of lexias results in a coherent story; that it is aesthetically desirable to be the hero of a story; and that digital narrativity should cover the same range of emotional experiences as literary narrative. Here I argue that digital narrative should emancipate itself from literary models. But I also view narrative as a universal structure that transcends media.

   Eric Dean Rasmussen - 15.05.2012 - 14:07

4. The Challenge of Cybertext: Teaching Literature in the Digital World

   This article discusses the changing role of literature in the contemporary media landscape. Literary scholarship may well maintain its importance in the digitalizing world, but this requires it to engage in an open dialogue with cultural and media studies. It is important that more attention is paid to contemporary literature as well as to new media offering significant pedagogical possibilities, which should be better acknowledged. The article's main focus is on the emerging field of digital literature. Cybertextuality, especially, is fundamentally changing our notions of the integrity of a literary work, reading, writing and interpretation. I attempt to describe and put into context one sample case of cybertextuality, The Impermanence Agent by Noah Wardrip-Fruin et al. Finally, I discuss some of the practical problems faced by teachers who introduce digital literature in their classrooms.

   (Source: Author's abstract)

   Reprinted in Online Learning Vol 2: Digital Pedagogies (Sage, New York, 2011)

   Patricia Tomaszek - 09.10.2012 - 15:28

5. Authors, Readers, and Progression in Hypertext Narrative

   George Landow, Espen J. Aarseth, Stuart Moulthrop and many
   others have heralded the development of hypertext because they
   believe it represents a revolution in textuality that will radically
   alter how we read and write, including of course how we read and
   write narrative. Print texts, we are reminded by the champions of
   this new medium, are linear while hypertexts are nonlinear.
   Consequently, the argument goes, print narratives encourage reading
   in a fixed, straight-line sequence—one word after another, one
   page after another—under the control of the author. Even postmodern
   attempts to subvert the fixity of the print sequence cannot
   overcome the stability of the printed page and the restrictions on
   format imposed by the traditional book. Hypertext narratives, on
   the other hand, are fluid by design; their sequence changes based
   on readerly decisions. To put it another way, as those who advance
   this argument sometimes do, readers approach hypertext narratives
   from variable positions within the narrative, and so their progression
   through the text—indeed, the progression of the text—is not

   Patricia Tomaszek - 16.11.2012 - 15:32

6. The Transformation of Narrative and the Materiality of Hypertext

   The Transformation of Narrative and the Materiality of Hypertext

   Patricia Tomaszek - 11.10.2013 - 19:14