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1. Semantisation, Exploration, Self-reflection and Absorption: Our Modes of Reading Hypertext Fiction

   "How do we read hypertext fiction? The question has been widely explored (Moulthrop 1991; Kaplan and Moulthrop 1991; Snyder 1997; Miall and Dobson 2001; Ryan 2001; Gardner 2003; Gunder 2004; Landow 2006; Mangen 2006; Page 2006) and there seems to be a consensus regarding the reader’s experience of hypertext fiction. Many critics actually claim that reading hypertext fiction generates frustration and insecurity. These and other studies describe how their readers react on and respond to hypertext fiction, but, as I see it, they partly fail in that they put to much weight on the reader’s responds and hardly no weight on the fact that hypertext fiction just like print fiction encourage or prefigure different responses and different modes of reading. The consequence is that these studies suffers from limitations witch lessens their valuable contribution to our knowledge about reading hypertext fiction. One reason for this might be that hypertext theory lack established concepts for describing response structures that encourage different modes of reading.

   Eric Dean Rasmussen - 27.01.2011 - 15:13

2. Is There a Text on This Screen? Reading in an Era of Hypertextuality

   Is There a Text on This Screen? Reading in an Era of Hypertextuality

   Eric Dean Rasmussen - 07.02.2012 - 11:56

3. Meta Discourse: An Investigation into Possibilities of Meta-Fictions in the 21st Century

   The old rites of literature are quickly starting to come to a head, and as we move through the 21st century we will find ourselves staring into new modes of expression of literary concepts that we have known only on the printed page for centuries prior. Meta-fiction not only allows for new ways of approaching a narrative but also new ways of approaching literature in general, including electronic literature. Questioning the boundaries between the reader and the writer, the audience and the performer, the characters in the text and the ones reading it, one might say that meta-fiction was one of the first forms of hypertext mediums in which the reader was encouraged to draw on outside influences and information to arrive at the heart of the text. This understanding of meta-fiction, then, makes it an appropriate place to begin an analysis of new modes of discourse and the variability of the messages presented. In such a textually-conscious style of writing, how does the narrative alter according to the mode of presentation while still retaining a questioning and awareness of the literary roots?

   Scott Rettberg - 07.01.2013 - 22:39