Hypertext fiction
As hypertext fiction, short hyper fiction, refers to a fictional narrative, which is written with and for the hypertext structure. It is non-linear, electronic texts, which only received a concrete form by the reception of a reader. In poetic texts of this kind is called Hyper Poetry.
- 2.1 shift from a factory to a process Aesthetics
Hypertext as a literary form of expression - Offline hyperfictions
From an offline Hyper fiction is when it appears on diskette or CD -ROM. The first, as such, published Hyper fiction was "Afternoon, a story" by Michael Joyce, published in 1987. Thus began the development of literary -oriented hypertext theory, which sees the hypertext as a literary text type, which has evolved from the avant-garde tendencies of the structure of texts. It examines emerging in hypertextual literature in print form content and structural trends ( James Joyce: linearity of narrative storylines under continuous notation; Jorge Luis Borges: each with its own consequences discussed problem of deciding between actions by a story in the narrative; Raymond Queneau: " Cent mille milliardes of poèmes ", cut into strips sonnet line with any possible combination; Julio Cortázar: " Hopscotch ", text segments) that are seen in the opinion of hypertext theorists in the context of post-structuralist theories and can be applied easily in the medium of hypertext. Your theses divided into four aspects of literary theory: text structure, writer role, function and recipient intertextuality.
Structural change and perceived empowerment of the reader
New features of text structure are multi -linearity, segmentation and linking as well as openness ( as is usually achieved no narrative statements). The reader is hyped up to wreader ( " writer" and " reader" ) and seems new power to win ( he could create their own constructions of meaning that contradict the author 's intention and his "own" text construct ). However, this empowerment of the reader is an illusion in offline hyperfictions, as there are hardly any real interactivity; Although the reader can " click through " arbitrary, but not enroll own texts or even existing edit or delete them. In addition, the reader must judge according to certain specifications of the author, so be especially written in the English language hyperfictions with their own programs, such as story space, in which the author 's texts with so-called " Guard Fields" provides that specify the sequence of sequences; this is referred to as " procedural authorship ".
The recipient is not necessarily ( co-) producer, but his reading activity defines the text by its (random) selection is from the confusing amount of text parts a new whole filtered.
Literature on CD- ROM remains despite the hypertextuality a college, an author's name and copyright under -lying plant, also " touchable " on a disk, making it the "classic" print literature in their work similar character. In the analysis of hyperfictions therefore been increasingly used in the early days on models that have been developed on the basis of printed literature. A detachment from the book culture takes place only gradually; the apparent membership of the hypertext to post-structuralism is based on the designation of the hypertext as a pure development of the print text, the production and reception aesthetic characteristics thereof were disregarded.
Hypertext with interaction as the main feature - Webfictions
By shifting the Internet, the Hypertext gaining opportunities. A hyper fiction, which is published on the Internet is known as Webfiction, isolated as an online hypertext fiction. In contrast to the offline Hyper Fiction Webfiction which does not rely on a disk and thus no longer physically tangible.
Most Webfictions are more cooperative way, users can participate actively. Model are V.A. so-called multi-user dungeons ( abbreviation " MUD ") and " Adventure Stories", collaborative note- grater projects in interactive computer role-playing games from the English -speaking world.