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08 Apr 10
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This seems to make hypertext "an almost embarrassingly literal" (Landow 53) example of Frederic Jameson's critique of postmodern spatiality, confined to a perpetual present, as Myron C. Tuman has noted (Tuman 118). The moment of hypertext, in a word, is all there is: What you see is what you get. It is also a moment, to historicize once again, that may be about to pass leaving hypertext as just another tool, "something terribly exciting for a little while and then a bore" (Dobrin 315).
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29 Mar 09
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hypertext has no preprogrammed content appropriate to it.
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Hypertext is not one thing, but a set of multifarious techniques ranging from the conservative reproduction of the book in hierarchical form to the self-navigating fiction with multiply-interlinked "rhizomatic" nodes
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a political move, as Geoffrey Nunberg has recently argued: such hypertext visionaries, he suggests, have "no real interest in advancing a historical thesis." The point of their rhetoric "is chiefly to establish their right to control the cultural moment and the material resources that it commands" (
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In the case of print, then, "the medium is not the mode
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By breaking texts up, dispersing them across an information network, control shifts to hypertext as a system; its structural potential is conceived to be more important than any content available to it
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Such matrices are always edifices, never autonomous zones; they are structures that do not allow for deterritorialization" (310). Implicated in this response, h
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supposed nonlinearity of hypertext is really only multilinearity
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Borges's plot places emphasis on the necessity of choice: Yu kills; he in turn is hanged. Death, being irreversible, is surely one of the guarantees of narrative becoming.
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- "With hypertext," they claim, "the range of options broadens, allowing narratives that at least approximate Yu's vision of infinite pathways" ("They Became" 229). In this way they make hypertext appear to evade the narrative contingencies of time and death. In reality, of course, the existence of simultaneous pathways in a hypertext is impossible, except potentially; an actual reader must choose, and will read events in one order or another. Their maneuver thus only mimics "intertextuality, polysemy, or difference" (235): the praxis of hypertext reading is necessarily linear, an unfolding in time. The formal properties of hypertext thus cannot be said to "exactly invert those of print" (235): this is an illusion.
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Moulthrop and Kaplan's account reduces hypertext to something completely amorphous which, if true, would mean an end to all discourse.
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Despite the often proclaimed death of the author, according to these reports authorial power is felt to be stronger than ever in hyperfiction:
Despite working within a new computer environment that literally removes the need for an author -- and with a postmodern aesthetic that seems to demand it -- literary hypertexts, it turns out, have authors who in some ways exercise greater power than print authors, both writing the text and through manipulation of the software controlling the degree of 'freedom' the reader experiences. (Tuman 76)
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he author is a trickster, a stage manager whose presence we sense in every link, so that we never forget the author for more than a moment.
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10 Oct 05
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