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1. For Thee: A Response to Alice Bell

   In an essay that responds to Alice Bell's book The Possible Worlds of Hypertext Fiction (Palgrave Macmillan, 2010), Stuart Moulthrop uses the lessons of hypertext as both an analogy and an explanation for why hypertext and its criticism will stay in a "niche" - and why, despite Bell's concern, that's not such a bad thing. As the response of an author to his critic, addressed to "thee," "implicitly dragging her into the niche with me," this review also dramatizes the very productivity of such specialized, nodal encounters.

   Eric Dean Rasmussen - 03.02.2011 - 11:01

2. Hyperfiction: Hyperliterarisches Lesebuch: Internet und Literatur

   Mit dieser Publikation wird erstmals in deutscher Sprache ein hyperliterarisches Lesebuch mit integrierter CD-ROM vorgelegt, das neben theoretischen Texten auch eine repräsentative Zusammenstellung hyperfiktionaler literarischer Texte enthält. Die CD-ROM enthält 24 ausgewählte Hyperfictions. Die 12 theoretischen Beiträge können in Printform wie auch elektronisch gelesen werden.

   Jörgen Schäfer - 07.11.2012 - 17:21

3. Hyperizons: Hypertext Fiction

   This is a collection that documents the "hypertext fiction activity" between 1995-1997.

   Among its features are:

   • Approximately 230 citations to electronic fiction, its print precursors, and criticism
   • Approximately 100 annotated citations for selected works
   • Individual bibliographies of selected authors
   • Announcements about the field and links to related sites of interest

   Source: Michael Shumate (resume)

   The page was last updated in 1997 and disappeared from the Web shorty after this record was created with a link to an active site in August 2013 (PT).

   Patricia Tomaszek - 30.08.2013 - 18:13

4. Remediating a Hyperfiction in ePub3: When Digital Literature Meets Publishing Models - The Case of Children’s Literature with The Tower of Jezik

   Many publishers—pure players or “traditional” publishers—are now exploring the field of digital literatures by producing enhanced e-books aimed at young readers. Whether they are ePub3 e-books or apps for mobile devices, more and more of these digital works are created for commercial purposes and try to settle in the cultural industry market by adapting to the evolution of digital reading. This new generation of publishers is only now discovering the poetic potential of hypertext narratives and the endless possibilities that derive from the hybridisation of text, image, sound and video. Yet they find themselves facing many obstacles throughout the design process. Psychologically, digital reading is often associated with disorientation, cognitive overload and discontinued ways of reading (as opposed to the immersive reading experience known with printed novels) (Gervais 1999 ; Baccino 2011). Economically, few examples of profitable models exist. Technically, many constraints emerge, on the one hand from the open and standardised ePub format, on the other from the ideology imposed by the software and hardware industry.

   Hannah Ackermans - 03.11.2015 - 11:35

5. Digital Artists' Books and Augmented Fictions: A New Field in Digital Literature?

   Digital literature is enjoying profitable and exciting times, made possible by emerging trends in digital publishing, as well as a growing enthusiasm on behalf of readers, publishers and authors for all forms of digital literary productions. These new players, who often come from traditional publishing, are discovering with great interest the literary and creative potential offered by touchscreen mobile devices. They are also exploring emerging new ways of writing and conceiving literary objects designed to be read on tablets, defined as “digital books”.

   While homothetic books for e-readers such as .pdf and .epub files only imitate the characteristics of paper books, digital books conceived as “augmented” or “enhanced” combine text, sounds, and fixed or animated images in order to create a heterogenous work meant to be read, watched, handled, listened to and experimented with.

   Hannah Ackermans - 10.11.2015 - 09:45

6. #ELRFEAT: Interview with Mark Bernstein (2010)

   The second featured interview with Mark Bernstein.

   Daniele Giampà - 07.04.2018 - 15:03

7. "Do you want to hear about it?' Exploring possible worlds in Michael Joyce's hyperfiction, afternoon, a story"

   "Do you want to hear about it?' Exploring possible worlds in Michael Joyce's hyperfiction, afternoon, a story"

   Agnete Thomassen Steine - 22.09.2021 - 10:59

8. Hyperfiction as a Medium for Drifting Times: A Close Reading of the German Hyperfiction Zeit für die Bombe

   In this chapter Saemmer does a close reading of the award-winning hyperfiction Zeit für die Bombe and describes how hyperfiction is a medium for drifting times.

   Kira Guehring - 23.09.2021 - 10:46

9. Coherence in text and hypertext

   From the author:

   The concept of text coherence was developed for linear text, i.e. text of sequentially organized content. The present article addresses to what extent this concept can be applied to hypertext. Following the introduction (section 1), I will define different aspects of text coherence (section 2). I will then explain the importance of the sequential order of text constituents for coherence-building, as explored by empirical studies on text comprehension (section 3). Section 4 discusses how hypertext-specific forms of reading affect the processes of coherence-building and coherence-design. Section 5 explores how the new challenges of hypertext comprehension may be met by hypertext-specific coherence cues. A summary and outlook is included (section 6).

   Mathias Vetti Olaussen - 29.09.2021 - 11:36