Relevant bibliographies by topics / Hypertext fiction

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Hypertext fiction'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Hypertext fiction"

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Miller, Ludmila V., and Nina L. Fedotova. "MODEL OF TEACHING FOREIGN STUDENTS FOR THE PERCEPTION OF FICTION MEANINGS WITH THE USE OF EDUCATIONAL FICTION HYPERTEXT." Proceedings of Southern Federal University. Philology 27, no. 1 (2023): 118–30. http://dx.doi.org/10.18522/1995-0640-2023-1-118-130.

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The relevance of the study is due to the fact that in recent years human relation with information flows have changed. The thinking and perception of meanings, especially by the younger generation, also begin to change noticeably. In this regard, the communication of an individual with a literary text presented in digital format deserves more attention. The purpose of the study is to create a model of learning to read this type of text, taking into account the features of a literary hypertext, which will optimize the process of learning to read a literary text in a foreign language. As an example of methodical processing of an autonomous educational hypertext, an excerpt from the story "Scar" by E. Grishkovets was used. In the process of developing a model for teaching foreigners to read literary hypertext, the following methods were used: analytical (linguocultural and linguocognitive analysis), interpretation method and modeling. In the study were compared such concepts as “literary text”, “hypertext”, “electronic hypertext” and “educational fiction text”. Literary hypertext is a traditional text, but it is organized in a different way than a linear text, so when it is perceived, specific perception mechanisms operate. The definition of educational literary hypertext in the aspect of teaching Russian as a foreign language is given; the linguodidactic potential of hypertext in relation to the teaching of Russian as a foreign language is revealed, the algorithm for working with Russian-language literary hypertext in a foreign audience is substantiated. It is assumed that educational hypertext as a new way of artistic communication can exist in two forms: network hypertext and autonomous hypertext. It is concluded that a methodically processed literary text, presented as a hypertext, makes it possible to optimize the process of teaching foreign students to read literary works in Russian. The prospects for the study are seen in the creation of an electronic manual for teaching foreign students to read the works of Russian writers based on the proposed model.
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Pope, James. "A Future for Hypertext Fiction." Convergence: The International Journal of Research into New Media Technologies 12, no. 4 (2006): 447–65. http://dx.doi.org/10.1177/1354856506068368.

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Brooker, Sam. "Is There an Author in This Labyrinth?" ACM SIGWEB Newsletter 2023, Winter (2022): 1–6. http://dx.doi.org/10.1145/3583849.3583852.

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In 2017 Professor of Literature John Farrell published The Varieties of Authorial Intention. Joining other dissenting voices past and present, this work addressed what the author considered a key tenet of mid- to late 20th century literary criticism: that reference to authorial intention is out of bounds, literary works being constituted by the text alone. Hypertext fiction has its own complex relationship with the notion of intention. From earlier entanglement in post-structuralist approaches to network textuality and the potential for readers to evade authors via branching narratives, hypertext fiction emerged as a distinctive form of textuality that can express intention in unique and unexpected ways. How effectively do the three modes of authorial intention Farrell identifies - communicative, artistic, practical - map to hypertext fiction both past and future? Can this model - devised in the context of linear print writing - accommodate the unique form of textuality represented by hypertext, with its own affordances and opportunities to express intent?
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Mangen, Anne. "Hypertext fiction reading: haptics and immersion." Journal of Research in Reading 31, no. 4 (2008): 404–19. http://dx.doi.org/10.1111/j.1467-9817.2008.00380.x.

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Segal, E. "The Possible Worlds of Hypertext Fiction." Poetics Today 32, no. 3 (2011): 614–16. http://dx.doi.org/10.1215/03335372-1375225.

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Owen, M. "Illusions of Democracy in Hypertext Fiction." Genre 41, no. 3-4 (2008): 177–200. http://dx.doi.org/10.1215/00166928-41-3-4-177.

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Atzenbeck, Claus. "Interview with Mariusz Pisarski." ACM SIGWEB Newsletter 2024, Winter (2024): 1–5. http://dx.doi.org/10.1145/3643603.3643606.

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Dr Mariusz Pisarski is a hypertext scholar, translator, publisher, the chief editor of "Techsty"---a Polish journal on new media and literature. He teaches creative writing, hypertext, Twine and non-linear storytelling. His translation and media translation projects include Polish editions of Michael Joyce's hypertext fictions, poetry generator "Sea and Spar Between" by Stephanie Strickland and Nick Montfort and "Hegirascope" by Stuart Moulthrop. Recently he has created the online English edition of "Twilight. A Symphony" (2022) by Michael Joyce. His forthcoming publication is "The Challenges of Born-Digital Fiction: Editions, Translations, and Emulations" (co-authored with Dene Grigar) by Cambridge University Press. He is an assistant professor at Chair of Media and Journalism, University of Information Technology and Management in Rzeszów, Poland and the secretary of Electronic Literature Research Center at Adam Mickiewicz University, Poznań.
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Joyce, Michael. "Nonce Upon Some Times: Rereading Hypertext Fiction." MFS Modern Fiction Studies 43, no. 3 (1997): 579–97. http://dx.doi.org/10.1353/mfs.1997.0061.

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Towle, Brendon, and Wolff Dobson. "A framework for coherent hypertext fiction (abstract)." ACM SIGWEB Newsletter 5, no. 2 (1996): 26. http://dx.doi.org/10.1145/231738.232603.

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Rustad, Hans K. "A Four-Sided Model for Reading Hypertext Fiction." Hyperrhiz: New Media Cultures, no. 6 (October 2009): 1. http://dx.doi.org/10.20415/hyp/006.e01.

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Dissertations / Theses on the topic "Hypertext fiction"

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Bell, Alice M. "The possible worlds of hypertext fiction." Thesis, University of Sheffield, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434659.

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Burgess, Elizabeth. "Understanding interactive fictions as a continuum : reciprocity in experimental writing, hypertext fiction, and video games." Thesis, University of Manchester, 2015. https://www.research.manchester.ac.uk/portal/en/theses/understanding-interactive-fictions-as-a-continuum-reciprocity-in-experimental-writing-hypertext-fiction-and-video-games(5202be2d-db6d-4791-aa53-004072ffa4a7).html.

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This thesis examines key examples of materially experimental writing (B.S. Johnson’s The Unfortunates, Marc Saporta’s Composition No. 1, and Julio Cortázar’s Hopscotch), hypertext fiction (Geoff Ryman’s 253, in both the online and print versions), and video games (Catherine, L.A. Noire, The Elder Scrolls IV: Oblivion, and Phantasmagoria), and asks what new critical understanding of these ‘interactive’ texts, and their broader significance, can be developed by considering the examples as part of a textual continuum. Chapter one focuses on materially experimental writing as part of the textual continuum that is discussed throughout this thesis. It examines the form, function, and reception of key texts, and unpicks emerging issues surrounding truth and realism, the idea of the ostensibly ‘infinite’ text in relation to multicursality and potentiality, and the significance of the presence of authorial instructions that explain to readers how to interact with the texts. The discussions of chapter two centre on hypertext fiction, and examine the significance of new technologies to the acts of reading and writing. This chapter addresses hypertext fiction as part of the continuum on which materially experimental writing and video games are placed, and explores reciprocal concerns of reader agency, multicursality, and the idea of the ‘naturalness’ of hypertext as a method of reading and writing. Chapter three examines video games as part of the continuum, exploring the relationship between print textuality and digital textuality. This chapter draws together the discussions of reciprocity that are ongoing throughout the thesis, examines the significance of open world gaming environments to player agency, and unpicks the idea of empowerment in players and readers. This chapter concludes with a discussion of possible cultural reasons behind what I argue is the reader’s/player’s desire for a high level of perceived agency. The significance of this thesis, then, lies in how it establishes the existence of several reciprocal concerns in these texts including multicursality/potentiality, realism and the accurate representation of truth and, in particular, player and reader agency, which allow the texts to be placed on a textual continuum. This enables cross-media discussions of the reciprocal concerns raised in the texts, which ultimately reveals the ways in which our experiences with these interactive texts are deeply connected to our anxieties about agency in a cultural context in which individualism is encouraged, but our actual individual agency is highly limited.
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Brooker, Samuel. "The liberator's labyrinth : stand-alone, read-only hypertext fiction and the nature of authority in literary & hypertext theory." Thesis, King's College London (University of London), 2018. https://kclpure.kcl.ac.uk/portal/en/theses/the-liberators-labyrinth(28ebc99d-35a9-46c4-8f3f-705058a1afa5).html.

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Theorists as diverse as Roland Barthes, Wolfgang Iser, and Stanley Fish have identified interpretation (the meaning derived from a fictional work by a reader) as distinct from the intentions of the author. This dissertation explores a common claim made in the first wave of hypertext fiction criticism: that the existence of authored choices created greater levels of interpretative freedom for the reader than in cinematic, theatrical, or traditional print works. Drawing primarily on literary theory, but selectively supported by computer and information science scholarship, this poststructuralist, antiauthorist position suggested that stand-alone, read-only hypertext systems could further the so-called “death of the author” when used for literary purposes. Does the introduction of an additional authored layer (in the form of hypertext markup) really shift the balance of power between author and reader, and if so in what direction? Using concepts first articulated by Isaiah Berlin, this dissertation argues that the theoretical discussion has hitherto been based on a distancing, “negative” conception of liberty, while practice within early networked computer systems favoured the more coercive form, which Berlin termed “positive”. This disjunction highlights that an effective strategy for liberating knowledge in information science can have the inverse effect when applied to literary theory, despite sharing broadly compatible philosophical goals. The following study will foreground the contradictions between these two concepts of liberty. Technology, not formal discourse represents the genesis of a new medium, but hasty theoretical consensus led to an essentialism, even a formalism within hypertext fiction scholarship which confined intellectual horizons, a distortion which resonates today in scholarship around literary hypertext fiction and other interactive media. The second wave of criticism questioned empowerment on an empirical basis, but did not fully undermine the first wave’s initial assumptions. Having outlined the argument in the introductory chapters, the twin genealogies of hypertext fiction will be explored in greater detail: literary theories of authorship in Chapter 3, hypertext in Chapter 4. The fifth chapter draws these strands together, demonstrating that the project of literary hypertext fiction is in fact at odds with the versions of liberty found in its progenitor theories, before the sixth chapter looks at how this contradiction continues to haunt contemporary experiments with interactive narrative.
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Gardner, Colin Barry. "Versions of interactivity : a theoretical and empirical approach to the study of hypertext fiction." Thesis, University of Sheffield, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.246930.

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Hartley-Smith, Rachel L. "Cella : a journal for creative storytelling through digital mediums." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1379434.

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To complete my final creative project in seeking a Master of Arts degree in Telecommunication: Digital Storytelling through Ball State University, I have created a "pilot" online journal in Macrojnedia Flash 8 for the display of various methods of creative storytelling through the digital medium (currently located at http://rlhartleysmi.iweb.bsu.edu/cella.swf). Here, 1 review the concepts employed as well as my intentions in creating such a journal. I detail the interior workings of the journal and the categories of digital work represented. I outline requirements for future submissions and financial needs for initial creations and upkeep should the journal develop into a public enterprise. In this overview, I explain the rationale in exploring the creative arts through digital mediums and the importance of such concepts as collaboration and visual aesthetics when communicating through digital mediums.In preparation of this project, I performed an intense study of similar online journals in existence, their designs and usability as well as their subject matter. I also made use of social networking sites through which I created groups for the purpose of gathering and sharing additional research in the realms of digital poetry and publishing creative writing online. Also, I read scholarly research regarding computers as creative outlets, online publishing, and the aspects of interactivity as it comes to exist within the creative story in digital mediums. Brief analyses of several articles regarding interactivity within the experience of the story and within education and culture have been included here. I have concluded that we have naturally moved towards using technology as an artistic medium. My direction and passions have also been reaffirmed in that, through my created digital journal CEIIA, I am assured that the digital medium is the ideal union for the artistic narrative, both literal and visual.<br>Department of Telecommunications
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Polk, Jonathan D. "Not just fun with typography : remediation of the digital in contemporary print fiction /." View online, 2009. http://ecommons.txstate.edu/engltad/16.

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Thesis (M.A.)--Texas State University--San Marcos, 2009.<br>Vita. Reproduction permission applies to print copy: Blanket permission granted per author to reproduce. Includes bibliographical references (leaves 67-68).
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Pope, James. "How do readers interact with hypertext fiction? : an empirical study of readers' reactions to interactive narratives." Thesis, Bournemouth University, 2007. http://eprints.bournemouth.ac.uk/10503/.

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Yu, Liangzhi. "The effect of information cues in a hypertext system on fiction reading activity of public library readers." Thesis, Loughborough University, 1996. https://dspace.lboro.ac.uk/2134/7315.

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The purpose of this research was to examine the effect of information cues, presented via a hypertext system, on the fiction reading activity of public library readers and the practical implications of the effect. A three-group post-test experimental design was applied for this purpose. The groups were formed from readers in two public libraries near the university by random assignment. The experimental treatments were three versions of a fiction searching and browsing system, differing in the complexity of information cues and the hypertext features. Data for the experiment were gathered by an observation schedule and a self-administered questionnaire and were analyzed with the Kruskal-Wallis one way analysis of variance and the Mann-Whitney test in SPSSA. The three groups showed significant difference in the amount of their book selection mid borrowing, the extent to which they made use of the searching system and the extent to which they relied on their own experience for book selection. They also differed significantly in the types of book they borrowed. They did not differ significantly, however, in their fiction searching pattern, the conformity of their book selection to their general reading tastes, their subjective feelings of well-being and their cognitive experience during reading. It was concluded that within the typology of information cues proposed in this research, the amount of readers' book selection and borrowing, the types of book they borrowed, their reliance on the system or their own experience for the decision making are significantly influenced by the level of information cues they have been exposed to. However, readers' searching patterns, conformity of book selection to their general taste, and emotional and cognitive experience do not relate significantly to the level of information cues they have been exposed to. It was suggested that detailed categorisation or classification of fiction should be a priority in processing fiction. 'The provision of adequate information cues should have more professional attention in promoting fiction reading, and the policy of fiction services should not be too high-brow.
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Linnemann, Martina E. "From page to screen : placing hypertext fiction in an historical and contemporary context of print and electronic literary experiments." Thesis, University of Warwick, 1999. http://wrap.warwick.ac.uk/4422/.

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Only recently has our perception of the computer, now a familiar and ubiquitous element of everyday life, changed from seeing it as a mere tool to regarding it as a medium for creative expression. Computer technologies such as multimedia and hypertext applications have sparked an active critical debate not only about the future of the book format, ("the late age of print" {Bolter} is only one term used to describe the shift away from traditional print media to new forms of electronic communication) but also about the future of literature. Hypertext Fiction is the most prominent of proposed electronic literary forms and strong claims have been made about it: it will radically alter concepts of text, author and reader, enable forms of non-linear writing closer to the associative working of the mind, and make possible reader interaction with the text on a level impossible in printed text. So far the debate that has attempted to put hypertext fiction into a historical perspective has linked it to two developments. Firstly the developments in computer technology that made hypertext not only possible but also widely accessible and secondly a tradition of postmodern theory, where characteristics attributed to hypertext echo concepts of fragmentation, multiplicity and instability that theorists like Barthes and Derrida have formulated previously and that have led to the notion of hypertext as an "authentic, yet functional postmodern form" {Roberts} A third element that is not generally subject to critical evaluation is the practice of (post)modern writing in which a number of authors consciously break with the linearity of print conventions in favour for a more fragmented narrative and presentation as well as actively inviting the reader's participation in what Barthes calls "writerly" text. There are two reasons why these "proto-hypertexts" have been widely ignored or dismissed: Hypertext is still widely define as exclusive to the electronic realm and is furthermore generally perceived in oppositional pairs in contrast to print, i.e. non-linear vs. linear and interactive vs. passive, which conceptually does not leave room for a study of an "evolution" out of existing forms of writing practice. By examining hypertext fiction in a context of print experiments (Cortazar, Borges, B.S. Johnson, Andreas Okopenko, Raymond Queneau, Miroslav Pavic, Italo Calvino) and also in a context of other forms of digital literary experimentation (collaborative projects and computer-generated writing), this thesis aims to, on a diachronic level, reincorporate hypertext fiction into an evolutionary (though radical) literary tradition and examines the manner in which concepts which originated in this tradition have been taken over often very literally and without much redefinition. On the a-historical, synchronic level, this study explores some of the possible formats for literature in the new electronic textual media: hypertext fiction, collaborative writing projects, computer-generated writing and the different challenges these present to our understanding ofliterature. After an introduction in Chapter 1, Chapter 2 and 3 discuss two of the keywords of hypertext theory, its "grand narratives' (non-linearity and interactivity) and the appropriation of the terminology to hypertext theory and to hypertext fiction. Chapter 4 and 5 will look at alternative, though related, approaches to electronic fiction: Chapter 4 will examine aspects of collaborative writing in both a print and a digital environment while computer-generated writing stands at the centre of Chapter 5.
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Magnuson, Markus Amalthea. "The Dig : De grafiska äventyrsspelen som flyktigt medium." Thesis, Stockholms universitet, Filmvetenskapliga institutionen, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-179044.

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Books on the topic "Hypertext fiction"

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Bell, Alice. The Possible Worlds of Hypertext Fiction. Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230281288.

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Bell, Alice. The possible worlds of hypertext fiction. Palgrave Macmillan, 2010.

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Bell, Alice. The possible worlds of hypertext fiction. Palgrave Macmillan, 2010.

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Ciccoricco, David. Reading network fiction. University of Alabama Press, 2007.

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Yu, Chŏng-wŏn. Wep sosŏl t'amgu: Uri nŭn wae wep sosŏl e yŏlgwang hanŭn'ga. Chisik ŭi Nalgae, 2020.

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Yoo, Hyun-Joo. Text, Hypertext, Hypermedia: Ästhetische Möglichkeiten der digitalen Literatur mittels Intertextualität, Interaktivität und Intermedialität. Königshausen & Neumann, 2007.

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Mourão, José Augusto. Textualidade electrónica: Literatura e hiperficção. Vega, 2009.

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Datlow, Ellen. Digital domains: A decade of science fiction and fantasy. Prime Books, 2010.

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Gaggi, Silvio. From text to hypertext: Decentering the subject in fiction, film, the visual arts, and electronic media. University of Pennsylvania Press, 1997.

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Linnemann, Martina E. From page to screen: Placing hypertext fiction in an historical and contemporary context of print and electronic literary experiments. typescript, 1999.

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Book chapters on the topic "Hypertext fiction"

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Trimarco, Paola. "Hypertext Fiction." In Digital Textuality. Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-33497-8_7.

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Bell, Alice, and Astrid Ensslin. "Hyperlinks in Hypertext Fiction." In Reading Digital Fiction. Routledge, 2024. http://dx.doi.org/10.4324/9781003110194-3.

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Leslie, Christopher. "The End of Science Fiction." In From Hyperspace to Hypertext. Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-99-2027-3_8.

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Leslie, Christopher. "Science Fiction and the University." In From Hyperspace to Hypertext. Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-99-2027-3_9.

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Mitchell, Alex. "Using Theme to Author Hypertext Fiction." In Interactive Storytelling. Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-48279-8_41.

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Bell, Alice. "Introduction: The Universe of Hypertext Fiction." In The Possible Worlds of Hypertext Fiction. Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230281288_1.

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Bell, Alice. "Theory: Hypertext Fiction and the Significance of Worlds." In The Possible Worlds of Hypertext Fiction. Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230281288_2.

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Bell, Alice. "Communication, Contradictions and World Views in Michael Joyce’s afternoon: a story." In The Possible Worlds of Hypertext Fiction. Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230281288_3.

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Bell, Alice. "Interrupting the Transmission: the Slippery Worlds of Stuart Moulthrop’s Victory Garden." In The Possible Worlds of Hypertext Fiction. Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230281288_4.

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Bell, Alice. "Is there a Mary/Shelley in this World? Rewrites and Counterparts in Shelley Jackson’s (1995) Patchwork Girl." In The Possible Worlds of Hypertext Fiction. Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230281288_5.

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Conference papers on the topic "Hypertext fiction"

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Mitchell, Alex, and Kevin McGee. "The HypeDyn hypertext fiction authoring tool." In the 2nd workshop. ACM Press, 2012. http://dx.doi.org/10.1145/2310076.2310081.

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Mitchell, Alex, and Kevin McGee. "The paradox of rereading in hypertext fiction." In the 23rd ACM conference. ACM Press, 2012. http://dx.doi.org/10.1145/2309996.2310014.

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Styles, Matthew G., Shin-Young Jung, Chihiro Eto, and Geoffrey M. Draper. "An approach to hypertext fiction for mobile devices." In the 2nd workshop. ACM Press, 2012. http://dx.doi.org/10.1145/2310076.2310078.

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Kearns, Edward. "Annotating and quantifying narrative time disruptions in modernist and hypertext fiction." In Proceedings of the First Joint Workshop on Narrative Understanding, Storylines, and Events. Association for Computational Linguistics, 2020. http://dx.doi.org/10.18653/v1/2020.nuse-1.9.

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Bouchardon, Serge. "The boundary between reality and fiction in hyperfictions for smartphone." In HT '23: 34th ACM Conference on Hypertext and Social Media. ACM, 2023. http://dx.doi.org/10.1145/3603163.3609081.

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Popovic, Tanja. "Milorad Pavic’s Khazar Dictionaryas a Postmodern Comment on theHagiography of Saints Cyril and Methodius." In Tenth Rome Cyril-Methodian Readings. Indrik, 2020. http://dx.doi.org/10.31168/91674-576-4.24.

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Thеаim of this paper is to investigate the relationship between the texts of the Hagiography of Saint Cyril (Konstantin Philosopher) and the M. Pavich’s novel “Khazar Dictionary”. The focuses of this research are intertextuality (hypertext / hypothesis) and metatextuality (auto-referential comments), the philosophy of fi ction, the principle of complementarity and possible worlds. Erasing the boundaries between fiction and faction create a special kind of literary discourse, new semantic and formative functions of the text.
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Reports on the topic "Hypertext fiction"

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STROYKOV, S., and I. NIKITINA. THE CURRENT STATE OF THE PROBLEM OF HYPERTEXT IN LINGUISTIC LITERATURE. Science and Innovation Center Publishing House, 2022. http://dx.doi.org/10.12731/2077-1770-2022-14-2-3-50-73.

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In this paper it’s the first time the authors have reviewed linguistic literature (2008-2022) devoted to the problem of literary and electronic hypertext. The purpose of the paper is to review linguistic literature and identify the current state of the problem of literary and electronic hypertext. Materials and methods. On the basis of this purpose we reviewed 42 scientific papers published in 2008-2022 and representing the results of linguistic research of literary and electronic hypertext. For our study we used an analytical and descriptive method, which is traditional for linguistics and allows us to solve the tasks set in our paper. Results. A review of linguistic papers has shown that hypertext is a relevant subject of linguistic research. Scientists propose various definitions of this concept; consider it as a “special information and communication environment”. Many studies are devoted to literary (fiction and non-fiction) hypertext, however, a much larger number of papers are devoted to various aspects of electronic hypertext, including electronic fiction hypertext and electronic hypertext of some genres (news genres, online advertising, social network and online diary community as well as websites). We consider that it is the electronic environment where hypertext is implemented in all its functions. Practical implications. The results of the study can be used as a theoretical basis for further theoretical and practical study of various aspects of literary and electronic hypertext.
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TARAKANOVA, V., A. ROMANENKO, and T. TROITSKAYA. FACTORS AND RISKS OF ENVIRONMENTAL SAFETY OF THE CITIES OF THE MOSCOW REGION. Science and Innovation Center Publishing House, 2022. http://dx.doi.org/10.12731/2077-1770-2022-14-2-2-19-29.

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In this paper it’s the first time the authors have reviewed linguistic literature (2008-2022) devoted to the problem of literary and electronic hypertext. The purpose of the paper is to review linguistic literature and identify the current state of the problem of literary and electronic hypertext. Materials and methods. On the basis of this purpose we reviewed 42 scientific papers published in 2008-2022 and representing the results of linguistic research of literary and electronic hypertext. For our study we used an analytical and descriptive method, which is traditional for linguistics and allows us to solve the tasks set in our paper. Results. A review of linguistic papers has shown that hypertext is a relevant subject of linguistic research. Scientists propose various definitions of this concept; consider it as a “special information and communication environment”. Many studies are devoted to literary (fiction and non-fiction) hypertext, however, a much larger number of papers are devoted to various aspects of electronic hypertext, including electronic fiction hypertext and electronic hypertext of some genres (news genres, online advertising, social network and online diary community as well as websites). We consider that it is the electronic environment where hypertext is implemented in all its functions. Practical implications. The results of the study can be used as a theoretical basis for further theoretical and practical study of various aspects of literary and electronic hypertext.
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