Abstract
The article deals with the turn of the poetry of linear narrative into three-dimensional shapes, while topography and other spatial disciplines becomes an important tool to understand the meaning of new hypertextual narrative. Relying on the metaphors of Ted Nelson, the creator of the concept of hypertext about the magical and oneiric nature of a nonlinear story, the article represents the relationships between the topography of the spiritual world of the British Romanticism, written media transformation to a three-dimensional spatial structure in Nelson’s hypertext project and postmodern practices of cultural dismantling. The article concludes that the traditional writing about hypertext is often not able to cover part of its features; the attention is drawn to the nature of hybrid art/scientific analysis of the new, intermedial “writing”.
Highlights
Language in which we understand, and experience which we understand often does not match; it is sometimes said, that language lags behind “one generation” (Meyer 2001: 47)
According to Gertrude Stein, the generals of the World War I used weapons of the 20th century while perceiving the War in the categories of the 19th century. This is the case of hypertext, as we usually interpret it in terms of literary theory and poetics (Walker 2005)
The predicate of seriousness in the profile of the publishing house has not appeared by accident, it is concerned with the continuing debate about the possibilities of hypertext to continue the classic distinction of low and high culture, or, to be more precise, whether hypertext can maintain the classic forms of high culture, literary or scientific6
Summary
The article deals with the turn of the poetry of linear narrative into three-dimensional shapes, while topography and other spatial disciplines becomes an important tool to understand the meaning of new hypertextual narrative. Relying on the metaphors of Ted Nelson, the creator of the concept of hypertext about the magical and oneiric nature of a nonlinear story, the article represents the relationships between the topography of the spiritual world of the British Romanticism, written media transformation to a three-dimensional spatial structure in Nelson’s hypertext project and postmodern practices of cultural dismantling. The article concludes that the traditional writing about hypertext is often not able to cover part of its features; the attention is drawn to the nature of hybrid art/scientific analysis of the new, intermedial “writing”
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