ABSTRACT

The discursive imaginings around reading and writing have undergone radical changes in recent decades. Hypertextuality is one such concept that came to inhabit the new topos of literariness. However, hypertextuality has been conceived as inextricably bound to digital technology, not accounting for the new iterations of intertextuality, non-linearity and multivocality offered by print proto hypertexts. Print proto-hypertexts have proven that it is possible to tinker with the narrative’s logical, spatial and temporal organisation with ingenuity and without being rendered incomprehensible. Milorad Pavić’s Dictionary of the Khazars (1984) is a brilliant example of a print hypertext. Self-reflective on its hypertextuality and corporeality, the novel, in a way, also actualised the post-structural conceptualisation of an “open” text that is not circumscribed by the medium. This article uses Barthesian conceptualisation of writerly and readerly texts to argue that the print hypertexts presaged and even surpassed the digital reimaginings of textuality.

摘要

近几十年来，围绕阅读和写作的话语想象发生了根本性的变化。超文本性就是这样一个概念，它逐渐出现在文学的新主题中。然而，超文本性被认为与数字技术有着千丝万缕的联系，而没有考虑到印刷原超文本提供的互文性、非线性和多音性的新迭代。印刷原超文本已经证明，可以巧妙地修改叙事的逻辑、空间和时间组织，并且不会变得难以理解。米洛拉德·帕维奇 (Milorad Pavić) 的《可萨人词典》(1984) 是印刷超文本的杰出范例。小说在某种程度上对其超文本性和物质性进行了自我反思，还实现了不受媒介限制的“开放”文本的后结构概念化。本文使用巴特对作家文本和读者文本的概念化来论证印刷超文本预示甚至超越了文本性的数字重新想象。