The purpose of this treatise is to formulate the theory of hypertext narrative (hypernarrative) by studying general hypertext theory, inquiring hypertextuality of narrative in non-electronic media and analyzing Digital Gubo 2001 that is a first hypernarrative written in Korea.
Hypertext possesses three general attribute. First, hypertext is endless text that do not exist ending and limits. Second, it is a text reliant on association of ideas and intuitive power. Moreover, it is multimedia text that admits pictures, sound and animation. Hypertext consists of hyperlink and unit-texts. Hyperlink is very important to hypernarrative. It recontextualizes unit-text (nodes) and makes new story lines. Linearity/non-linearity is one of several debatable points of hypernarrative too. The author formed a conclusion that linearity of narrative structure entices non-linearity of reading and non-linearity of narrative structure brings linearity of linearity of reading.
Hypernarrative is classified by diverse criterions; fictional hypernarrative and complex discourse hypernarrative by fictitiousness degree, one author hypernarrative and multi-author hypernarrative, creative hy-pernarrtive and anti(or semi)-creative hypernarrative, closed hypernarrative and opened hypernarrative.
In order to inquire hypertextuality of narrative in non-electronic media, the author made an analysis of the following narrative - the tale of Wonhyot Im Kkeokjeong by Hong Myeonghui, Oh! Soojung and Memento, In the tale of Wonhyo in which contains a story of jungdapsangyeong, the author traced hypertextual thought to its source. Im Kkeokjeong, which is written by Hong Myeonghui in 1930's, shows hypertextuality of ex-tendibility and multi-centreness. Oh! Soojung which is a film directed by Hong Sangsoo and Memento which is a film directed by Christopher Nolan are composed of fragmented texts and repeated texts. The cause to look for hypertextuality in various narrative forms, namely tale, modern novel and film is to lay emphasis on multimedia textuality of hypertext narrative.
Chapter 4 examines Digital Gubo 2001. This study on Digital Gubo is to advance practical methodology of hypernarrative. This author adopted the concept of the comprehensive authorship. This concept includes the possibility of co-production by multi-authorship. Digital Gubo is analyzed two aspects of the interface structure and the content structure. In aspect of the interface structure, Digital Gubo is mixed with narrative and non-narrative texts, fictional and non-fictional texts, and internal and external texts. It is also composed of wholly opened hyperlink and induce excessive reading pass. In aspect of the content structure, Digital Gubo characterize split and spread character, weakened plot, scattered ending and timelessness of narrative now.