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1. Tending the Garden Plot: Victory Garden and Operation Enduring....

   A reading of Moulthrop's Victory Garden seen primarily as a war narrative, in the light of the contemporary (to the article) war on Iraq.

   Jill Walker Rettberg - 15.10.2011 - 21:26

2. A Pragmatics of Links

   This paper applies the linguistic theory of relevance to the study of the way links work, insisting on the lyrical quality of the link-interpreting activity. It is argued that such a pragmatic approach can help us understand hypertext readers´ behavior, and thus be useful for authors and tool-builders alike. (Source: Author's abstract)

   Jill Walker Rettberg - 15.10.2011 - 21:39

3. Intervista con Filippo Rosso: “eLiterature e Hypertext Fiction"

   Intervista con Filippo Rosso: “eLiterature e Hypertext Fiction"

   Fabio De Vivo - 22.10.2011 - 11:23

4. Stuck in a Loop? Dialogue in Hypertext Fiction

   "This paper will focus on the use of dialogue in two early hypertext fictions. Both Michael Joyce's afternoon, a story (first published 1987) and Yellowlees Douglas's I Have Said Nothing (1994) have achieved near-canonical status having been excerpted in print in the Norton anthology Postmodern American Fiction (Geyh). As is often the case with hypertext fictions, the writers, Jane Yellowlees Douglas and Michael Joyce, also happen to be two of the foremost theorists of the form, and the sense of mutual influence is unavoidable. The aims of this paper are twofold: to explore the functions of dialogue in these fictions and the extent to which the representations are innovative; and to examine whether we need to reassess our models for understanding the functions and forms of fictional dialogue as we have begun to apply them to the print novel." (Source: taken from the first paragraph of the paper itself)

   Jill Walker Rettberg - 01.11.2011 - 12:13

5. Start at the End: a Hypertext Fiction

   This CD-based hypertext fiction is described as a tragedy, using words, music and images to "evoke three virtual spaces: the psychic space of memory, the public space of an internet mailing list (called Undertow) and the private space of a mail exchange between two people that are spearated by an ocean, a gender and a language." (from the blurb on the back of the CD).

   It is only available on CD-ROM and unfortunately the CD-ROM this ELMCIP contributor can access is faulty and most files will not show.

   Jill Walker Rettberg - 10.11.2011 - 14:16

6. Hypertextual Rhythms (The Momentary Advantage of Our Awkwardness)

   Michael Joyce's paper, "Hypertextual Rhythms (The Momentary Advantage of Our Awkwardness)," addresses the historical moment of recent hypertext fiction. He will suggest that the common perception of hypertext as an awkward and opaque mode of discourse may actually make it easier to grasp its historical significance. Before the novelty of the electronic medium fades, and electronic text assumes the transparency that printed text now has, we may better understand it as a distinct representational form.

   Joyce presented this paper as part of a special session, "Hypertext, Hypermedia: Defining a Fictional Form," at the 1992 MLA Convention. The panel was chaired by Terence Harpold. Other panelists included pioneering hypertext authors: Carolyn Guyer, Judy Malloy, and Stuart Moultrhop.

   (Source: Humanist Archives Vol. 6 : 6.0338 Hypertext at MLA)

   Eric Dean Rasmussen - 01.01.2012 - 13:30

7. Mythologies of Landforms and Little Girls

   When I began writing Mythologies in 1995 I was thinking about gender in language and, informed by a poststructuralist feminist critique of the representation of the female body as landscape, I set out to explode these stereotypes by using over-the-top geological metaphors. I wanted to convey a moment of realization, when a number of ideas come together at once. It mattered little to me what order the ideas came in, only that they came together in the end. The narrative structure of this non-linear HTML version was influenced by the Choose Your Own Adventure books. The interface was based on the placemats you get at many restaurants in Nova Scotia, which depict a map of Nova Scotia surrounded by icons of purported interest to tourists: lobsters, whales, lighthouses, beaches and the Bluenose. The found images and texts came from a geology course I took in university, a civil engineering manual from the 1920s and a random assortment of textbooks found in used bookstores. The deadpan technical descriptions of dikes, groins and mattress work add perverse sexual overtones to the otherwise quite chaste first-person narrative.

   J. R. Carpenter - 28.01.2012 - 23:17

8. Electronic Literature Seen from a Distance: The Beginnings of a Field

   This paper outlines the development of the hypertext fiction community that developed in the United States of America from the late eighties and onwards. This community was separate from the interactive fiction community (and largely thought of its works as different from “games”) and largely revolved around the use of Storyspace, a software tool for creating electronic literature, and later, around Eastgate, a publisher of hypertext fiction and the company that developed Storyspace. While some work was written and published in Hypercard and other systems, the technology of a dominant software authoring tool and of the mechanics of distribution (diskettes sold by mail order) formed the hub of the electronic literature community during this period. There was little or no communication with other communities, such as the IF community or digital art communities. With the advent of the web, new authoring and distribution channels opened up, and this hub gradually lost its dominance. The transition from this relatively centralised and explicit community to the networked communities and scattered individuals of the Web is an interesting one to explore.

   Eric Dean Rasmussen - 23.03.2012 - 07:32

9. The Pleasure Principle: Immersion, Engagement, Flow

   While few critics writing on readers and hypertext have focused on the affective pleasures of reading hypertext fiction or interactive narratives like Myst, those who assess the experience of reading them tend to assume interactive texts should be either immersive or engaging. This study uses schema theory to define the characteristics of immersion and engagement in both conventional and new media. After examining how readers' experiences of these two different aesthetics may be enhanced or diminished by interface design, options for navigation, and other features, the essay concludes by looking beyond immersion and engagement to “flow, ” a state in which readers are both immersed and engaged.

   Source: ACM Publication
   Paper presented at the Eleventh ACM on Hypertext and Hypermedia Conference and published in the proceedings.

   Patricia Tomaszek - 25.03.2012 - 14:12

10. Ontological Boundaries and Methodological Leaps: The Importance of Possible Worlds Theory for Hypertext Fiction (and Beyond)

    This essay sets out an ontologically centered approach to Storyspace hypertext fiction by applying Ryan’s (1991) model of Possible Worlds Theory to two canonical texts [...] Shelley Jackson’s Patchwork Girl (1995) and Stuart Moulthrop’s Victory Garden (1991). The analyses show how the Possible Worlds Theory method allows the study of hypertext fiction to move away from the chronological focus of traditional narrative theory to address the ontological mechanics of hypertext narratives. The chapter closes by suggesting ways in which Possible Worlds Theory might also be used as an analytical tool for other forms of digital literature.

    (Source: author's abstract.)

    Eric Dean Rasmussen - 08.04.2012 - 09:17

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