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Hypertext fiction is a genre of electronic literature, characterized by the use of hypertext links which provide a new context for non-linearity in literature and reader interaction.〔Bishop, J. (2009). Enhancing the understanding of genres of web-based communities: The role of the ecological cognition framework. International Journal of Web-Based Communities, 5(1), 4-17. Available (online )〕 The reader typically chooses links to move from one node of text to the next, and in this fashion arranges a story from a deeper pool of potential stories. Its spirit can also be seen in interactive fiction. The term can also be used to describe traditionally-published books in which a nonlinear narrative and interactive narrative is achieved through internal references. James Joyce's ''Ulysses'' (1922), Mark Z. Danielewski's ''House of Leaves'' (2000), Enrique Jardiel Poncela's ''La Tournée de Dios'' (1932), Jorge Luis Borges' ''The Garden of Forking Paths'' (1941), Vladimir Nabokov's ''Pale Fire'' (1962) and Julio Cortázar's ''Rayuela'' (1963; translated as ''Hopscotch'') are early examples predating the word "hypertext", while a common pop-culture example is the ''Choose Your Own Adventure'' series in young adult fiction and other similar gamebooks. ''The Garden of Forking Paths'' is both a hypertext story and a description of a fictional hypertext work. == Definitions == There is little consensus on the definition of hypertext literature. The similar term cybertext is often used interchangeably with hypertext.〔Aarseth, Espen.1997. ''ergodic Literature''. Baltimore, Maryland: The Johns Hopkins University Press. http://www.hf.uib.no/cybertext/Ergodic.html〕 In hypertext fiction, the reader assumes a significant role in the creation of the narrative. Each user obtains a different outcome based on the choices they make. Cybertexts may be equated to the transition between a linear piece of literature, such as a novel, and a game. In a novel the reader has no choice, the plot and the characters are all chosen by the author, there is no 'user,' just a 'reader,' this is important because it entails that the person working their way through the novel is not an active participant. In a game, the person makes decisions and decides what to do, what punches to punch, or when to jump. To Espen Aarseth, cybertext is not a genre in itself; in order to classify traditions, literary genres and aesthetic value, texts should be examined at a more local level.〔Bolter,Jay David, Degrees of Freedom, retrieved from http://www.uv.es/~fores/programa/bolter_freedom.html〕 To Aarseth, hypertext fiction is a kind of ergodic literature: In ergodic literature, nontrivial effort is required to allow the reader to traverse the text. If ergodic literature is to make sense as a concept, there must also be nonergodic literature, where the effort to traverse the text is trivial, with no extranoematic responsibilities placed on the reader except (for example) eye movement and the periodic or arbitrary turning of pages. To Aarseth, the process of reading immersive narrative, in contrast, involves "trivial" effort, that is, merely moving one's eyes along lines of text and turning pages; the text does not resist the reader. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「hypertext fiction」の詳細全文を読む スポンサード リンク
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