Introduction
The
text that we are going to analyze is a hypertext, called ´´If we even did anything´´
written by Ian Randall Wilson. In order to understand better its structure and the
explanation that we are going to give, we must first of all know the meaning of
the hypertext and its evolution in a brief introduction dedicated to it.
Hypertext most often refers to text on a computer that will lead the user to other,
related information on demand. Rather than remaining static like traditional
text, hypertext makes possible a dynamic organization of information through
links and connections (called hyperlinks). Hypertext can be designed to perform
various tasks; for instance when a user "clicks" on it or
"hovers" over it, a bubble with a word definition may appear, a web
page on a related subject may load or a video clip may run.
Etymology
The prefix hyper- (comes from the Greek
prefix "υπερ-" and
means "over" or "beyond") signifies the overcoming of the
old linear constraints of written text. The term "hypertext" is often
used where the term hypermedia might seem appropriate. In 1992 Ted Nelson - who
coined both terms in 1965 - wrote:
By now the word
"hypertext" has become generally accepted for branching and
responding text, but the corresponding word "hypermedia," meaning
complexes of branching and responding graphics, movies and sound - as well as
text - is much less used. Instead they use the strange term "interactive
multimedia" - four syllables longer, and not expressing the idea that it
extends hypertext. - Nelson, Literary Machines 1992.
The Memex
All major
histories of what we now call hypertext start in 1945, when Vannevar
Bush wrote an article in The Atlantic Monthly called "As We May
Think," about a futuristic device he called a Memex.
He described the device as an electromechanical desk linked to an extensive
archive of microfilms, able to display books, writings, or any document from a
library. The Memex would also be able to create
'trails' of linked and branching sets of pages, combining pages from the
published microfilm library with personal annotations or additions captured on
a microfilm recorder. Bush's vision was based on extensions of 1945 technology
- microfilm recording and retrieval in this case. However, the modern story of
hypertext starts with the Memex because "As We
May Think" directly influenced and inspired the two American men generally
credited with the invention of hypertext, Ted Nelson and Douglas Engelbart.
The invention of
hypertext
Ted Nelson
coined the words "hypertext" and "hypermedia" in 1965 and
worked with Andries van Dam to develop the Hypertext
Editing System in 1968 at
Applications
The first
hypermedia application was the Aspen Movie Map in
Hypertext and
the World Wide Web
In the late
1980s, Berners-Lee, then a scientist at CERN, invented the World Wide Web to
meet the demand for automatic information-sharing among scientists working in
different universities and institutes all over the world. Early in 1993, the
Next we will
focus on a deep analysis of the hypertext ´´If we even did anything´´ by Ian
Randal Wilson
Since we
have done this small introduction, now we will treat the characteristics of
this hypertext. ´´If we even did anything´´ is a short story and is constructed
under the characteristics of metafictional effects.
What we have noticed is that the author often infringes into the narrative by
intruding to comment on writing, or involving himself with the characters and
giving his opinion, like (´´Learning of her background and interests certainly
changed my opinion of Marilyn´´). The writer also employs intertextual
references and allusions by examining fictional explanations, (as in the case
of the psyche) or incorporating aspects of theory (´´Freud said that actions
are overdeterminated´´) and criticism (´´Marilyn
needs to have her eyes examined´´).
About the
structure
The first
and unique image that we can see is located in the home page and supposedly
symbolizes a small sculpture in the hand of somebody; and in the top of the
picture it is written the name of the hypertext. The background is quite
simple, with shortage of filling effects.
Furthermore,
we have to mention that this hypertext is divided in 38 parts as far as the
thematic, or by the locations which appear or the arguments of each of them. The page is constructed of an intelligent way, because it
facilitates to us to read the hypertext in a linear way, from part 1 to part 38
(a column situated in the left part of the page) although it does not have any
correlation a text with the other, and a non-linear way, provided by the writer,
something that makes the text understandable. Furthermore, in part one the
author enlightens that ´´you begin where you choose to begin, in the way
you choose to make the beginning: as a first person narrative, as a third
person narrative, or in medias res.´´
If we
decide to follow the first person narrative we find out that there are no more
than three parts associated between them (part 3, part 38 and part 14) but
nevertheless there is only one part which is 3 and in case if we ´´are not satisfied
with the beginning we have selected´´ the author facilitates us four pathways
in part 38, as for example moving on with the narrative of the first person or
following the narrative of the third person, the medias res or we could have
another try. As we have said above the narrative of the first person ends after
three parts. In these parts 3, 38 and 14, the author confesses to us about his
old office, his new office and about his missing purse. In part 14, where the
first person narrative finishes, the author doesn’t offer us a link to go on,
so we had to move back at part 38 to follow the four options related above.
If we
choose the third person narrative, which belongs to the argument, we find out
something interesting, that the author supplies us with some commentaries and
gossips of the people who work there, and no matter what link we choose (of
those presented by the writer) we are lead to part 38, where are presented
those four options; following the third person narrative we can either go on reading
the argument of the story, following an alternative of the story, or supplying
us with an explanation of the psyche, understand better Marilyn or her
fantasies and the events with her grandmother, or even we can follow the real
reason which prompted the story. Throughout all the
argument (third person narrative) we have the possibility of returning backward
or forward and understanding better the personages just by to facilitate a link
to us in relation to them or with the events.
In
case if we decide to begin in medias res,
a similar thing is happening, as in the third person narrative, but with
small changes as far as the argument. This pathway lead us to the part 7 (where
the writer describes the escape of the thief) and then to the part 38 (with the
four options). Following the medias res , we find out
that we are guided for the argument, or for the real reason which prompted the
story. We also have to remark that if we choose the reason which prompted the
story then we are directed to the argument again, I mean no matter what we have
chosen we are guided again the argument.
Another
thing which is quite remarkable, is that the writer, in the penultimate part of
the argument, tells us ´´If you are satisfied, stop here´´ and if we are not we
could go on reading the last part of the argument. An additional thing, is that
after reading six parts of the narrative, (the third person narrative) we
arrive at part number 20, where the writer suggest us ´´to cut to the finish,
go to part 27. If you do, much of what I have to say to you will be missed, the
story, as an event, will be completed.´´ What he is trying to say is that if we
choose the part 27, we will arrive at the end of history without having some
other knowledge about the rest of history, which would be almost nine parts, in
comparison with the three parts (if we choose the fastest way). In case if we
decide for the fastest way, which is part 27 we will identify only the general
things of the story, as for example: when the phone was ringing and Marilyn had
to go in the secretary´s workstation, when she was
looking for Sally and after she came back she realised that her purse was gone;
whereas if we chose the longest part, we are provided with the address of
Marilyn, with the conversation with Sally, another conversation with the thief
telling her that he is going to prove her that he is not a bad person and also
that he has been in her house. According
to what the author said, if we decide for the part 27, we definitely miss the
events which complete this story.
With
reference to the language, the writer ´´focuses on language as a tool of
construction´´ and therefore uses a quite clear and concise language, thus
facilitating its reading.
Academic year
2008/2009
© a.r.e.a./Dr.Vicente Forés López
© Tirca Mihaela
mitir@alumni.uv.es
Universitat de València Press